1982 Directed by Ridley Scott
In the smog-choked dystopian Los Angeles of 2019, blade runner Rick Deckard is called out of retirement to terminate a quartet of replicants who have escaped to Earth seeking their creator for a way to extend their short life spans.
Harrison Ford Rutger Hauer Sean Young Edward James Olmos M. Emmet Walsh Daryl Hannah William Sanderson Brion James Joe Turkel Joanna Cassidy James Hong Kevin Thompson Hy Pyke Kimiko Hiroshige Ben Astar Dawna Lee Heising Alexis Rhee Bob Okazaki Morgan Paull John Edward Allen Carolyn DeMirjian Judith Burnett Leo Gorcey Jr. Sharon Hesky Kelly Hine Tom Hutchinson Charles Knapp Rose Mascari Jiro Okazaki Show All…
Brian Tufano Steven Poster Albert Bettcher Dick Colean Robert C. Thomas Casey Jones Richard Hart Victor A. Shelehov William E. Fitch
John Hayward Dino Dimuro Ron Bartlett Christopher Assells Per Hallberg Bud Alper Gordon K. McCallum Jon Title Doug Hemphill Karen Baker Landers Peter Pennell Nicolas Le Messurier Matt Vowles Joel Fein
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ridley scott: im gonna nap since the the visuals and sound design of my movie are taken care of, wake me up in 5 so i can work on the plot
[5 mins later]
me: ridley! wake up
ridley: zzzz
me: ridley ! the plot !
not to be THAT BITCH or anything but Harrison Ford can slurp me like he slurps those noodles any day of the week
"Let me tell you about my mother."
Short of 2001: A Space Odyssey, Blade Runner has to be the most boring science fiction film of all time. Ridley Scott is a no-talent hack, a fact which has been demonstrated extensively by his subsequent output. He's a visual director with no sense of character or narrative, and this film is a classic case of all style and no substance.
Blade Runner gets so much credit for asking "big questions" about what makes us human and how we come to terms with our finite existence, but like everything else in the film this is all on the surface with no depth or complexity. Take the famous "Tears in Rain" soliloquy from Roy…
i kept falling asleep and then waking up to flashing lights and synth music idk what happened
Use of little people and Asians as props? Check. Uncomfortable sex scene with questionable consent? Check. Centering a murderous slave-catcher as our anti-hero? Check. Beloved by film nerds worldwide? Check.
It's not even that bad; it's just nothing more than impressive set designs. The much-discussed ambiguity is a complete non-issue and not at all supported by the text (based on "the final cut," anyway); there's one moment where Deckard's humanity is brought up and it plays no meaningful role in the tension or narrative. As far as I can tell, again, assuming this probably unnecessary cut of the film doesn't differ that greatly from the others, the discussion around whether he's a replicant or not is entirely driven by a…
Rachel?
Yearning. Touch, feeling, skin, beauty; the search for something tangible. Seeking. Love, fear, sadness, disillusion; the search for something deeper. A simple calling of a name evokes so much more, as the silence on the other end defies simple emotion. Waiting, waiting, waiting for a answer. The fog, the mist, the darkness; it all envelops everyone and everything that seeks something real. In a world that has lost everything after gaining everything, it only makes sense that a human companion is all that's needed until the sun goes down. However, even that fundamental longing for another human is fading, as the golden glow within the eyes signals something sinister. Something artificial. Something missing.
Wait this is Blade Runner??? Everyone and their mother eats this films ass and because of that I think I had my expectations too high for this to be sick
Things I had forgotten:
- The total dedication to realising a dystopian future. The visuals Scott managed to conjure up are truly incredible.
- The wonderful contemplative nature of that Final Cut.
- Rutger Hauer's presence.
- The deliberate and exquisite pacing.
- The way it pushes its science fiction essence to the background by making the story paramount, thus becoming a prime example of the genre.
-Just how bloody good the whole thing is.
A dystopian future where the humans have lost their humanity and the hi tech androids are more human than humans!
Humans have shit in their own backyards once too often and the consequences are looming on the horizon if you can see past the ever present smog and rain! An oppressive environment where the long arm of the law just got longer, corporations have become gods their flock consists of brainwashed consumers kneeling at their alters with cash in hand! Everything man has destroyed including wildlife is replaced with the synthetic equivalent! The line between what is real and synthetic has been blurred!
A Norman Rockwell painting this is NOT!
It has a film noir feel to it but it is dripping with sci-fi nuances throughout! The film is timeless and the questions it provokes are still being debated today!
Naughty Approved!
