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Rick Deckard (Harrison Ford) prowls the steel-and-microchip jungle of 21st-century Los Angeles. He's a "blade runner" stalking genetically made criminal replicants. His assignment: kill them. Their crime: wanting to be human. The story of Blade Runner is familiar to countless fans. But few have seen it like this. Because this is director Ridley Scott's own vision of his sci-fi classic. This new version omits Deckard's voiceover narration, develops in slightly greater detail the romance between Deckard and Rachael (Sean Young) and removes the "uplifting" finale. The result is a heightened emotional impact: a great film made greater. Most intriguing of all is a newly included unicorn vision that suggests Deckard may be a humanoid. Do androids dream of electric sheep? Is Deckard a replicant? As with all things in the future, you must discover the answer for yourself.
Director Ridley Scott's hauntingly prescient vision of the not-too-distant future stars Harrison Ford as Rick Deckard, a retired police assassin, or "blade runner." The Los Angeles of 2019 is a dark, polluted, overcrowded dystopia dominated by cloud-piercing buildings and looming neon billboards, the air dense with acid rain and flying traffic. World-weary Deckard has been called out of retirement to liquidate four escaped "replicants"--genetically derived androids of great strength, intelligence, and nearly-human emotion who serve as slaves and prostitutes in the off-planet colonies. Led by Roy Batty (Rutger Hauer), they've come to Los Angeles to confront their designer, Eldon Tyrell (Joe Turkel), with their unhappiness about the brevity of their four-year life span. In the course of his search, Deckard becomes romantically entwined with Tyrell's lovely assistant, Rachael (Sean Young), and must eventually confront Batty in an unforgettable rain-soaked sequence. ^A highly influential fusion of the science fiction and noir genres based on the novel DO ANDROIDS DREAM OF ELECTRIC SHEEP? by Philip K. Dick, this postmodern film boasts astonishingly rich art direction, juxtaposing ingenious technological gadgetry with yellowing photographs and fetishistic objets d'art as it touches on questions of time, memory, identity, and mortality.
British Academy Awards, Jordan Cronenweth, Best Cinematography,British Academy Awards, MIchael Kaplan, Charles Knode, Best Costume Design,British Academy Awards, Lawrence G. Paull, Best Production Design/Art Direction
British Academy Awards, Marvin G. Westmore, Best Makeup Artist,British Academy Awards, Vangelis, Best Score,British Academy Awards, Bud Alper, et. al., Best Sound,British Academy Awards, Douglas Trumbull, et. al., Best Special Visual Effects,British Academy Awards, Terry Rawlings, Best Film Editing,Golden Globe, Vangelis, Best Original Score - Motion Picture,Oscar, Linda DeScenna, et. al., Best Art Direction-Set Decoration,Oscar, David Dryer, et. al., Best Effects, Visual Effects
...Blade Runner has become one of the most discussed, debated, and influential science fiction movies. These days, it's almost impossible to find a gritty science fiction motion picture that doesn't owe at least a small debt to Blade Runner's visual style. The movie is also one of the first major motion pictures to have been given a red carpet "Director's Edition." In cooperation with Warner Brothers, Ridley Scott re-tooled the movie, making minor changes and eliminating the much-maligned voiceover...Blade Runner is a rare science fiction movie so full of material that pages can be written about it without scratching the surface. A review like this can provide little more than an overview. A detailed exploration of the movie, its style, and its mysteries requires dedication that only someone immersed in Blade Runner lore can provide. Currently, the film is available in the United States only in the director's cut. Warner Brothers, however, has promised an exhaustive box set next year with multiple versions.
Seeing the movie again, even in this revised version, I still felt the human story did not measure up to the special effects. Ford is always good when surrounded by amazing visuals, perhaps because he keeps cool and does not seem to notice them. Sean Young and, more briefly, Rutger Hauer, are effective as replicants who want only to live the lives they seem to have been given. But the character of Tyrell, the evil billionaire, has never been convincing, and the way he is murdered doesn't say much for his security measures. And the love affair between Ford and Young, though properly bittersweet, seems to exist more for the plot than for them...And yet the world of "Blade Runner" has undeniably become one of the visual touchstones of modern movies. The movie's Los Angeles, with its permanent dark cloud of smog, its billboards hundreds of feet high, its street poverty living side by side with incredible wealth, may or may not come true -- but there aren't many 10-year-old movies that look more prophetic now than they did at the time.
Desson Howe, The Washington Post
...great on every level...[a] poignant screenplay...tremendous direction...phenomenal special effects...touching performances...
Jonathan Rosenbaum, Chicago Reader
...a truly extraordinary, densely imagined version of both the future and the present, with a look and taste all its own.