Blade Runner Reviews

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Super Reviewer
½ March 9, 2015
Great noir. The setting was unbelievable and the characters were so 'human'. Too bad she won't live
Super Reviewer
½ July 21, 2013
Ridley Scott's 'Blade Runner' is not only a sci-fi classic, but a classic neo-noir as well. The pace is slow, but an engaging climax, built alongside amazing production design is what makes 'Blade Runner' such a masterpiece. It's themes run deep, crafting a tale that requires its audience to think rather than just experience. The voiceovers are completely unnecessary as well, and kind of trample on the essence of the film, but later cuts of the film are devoid of them. 'Blade Runner' requires patience, but it is not hard to see why this film is praised as a classic for two different genres.
Super Reviewer
May 6, 2013
Ridley Scott's hardworking and stressful developmental stages pays off with this sensational sci-fi action thriller. Blade Runner is a mesmerizing and imaginative film that broadens the mind visually and mentally. Harrison Ford's witty performance as well as the supporting casts blends well with Scott's vision and direction as the film transcends and, to this day, is being labelled as one the best, if not the best, sci-fi films in motion picture history. 4/5
Super Reviewer
½ September 15, 2007
An undeniably impressive science-fiction movie that works best whenever Rutger Hauer's wry grin appears on screen, but isn't as compelling whenever Harrison Ford is on screen with a very robotic Sean Young. The thing that makes this movie work so well are the intriguing questions it raises concerning "what is life?" and if the dependency and increasing amount of technology in our world is necessarily a good thing. Scott has proved to be a visionary artist before, and he successfully captures a dystopian society in which it is always black and raining and society is on a downward spiral. This unremittingly bleak, sometimes almost unbearably dark backdrop actually works wonders for the overall story, which is itself serious and not easy to watch. While Ford has definitely been better, Hauer's rich performance compensates for this, and the ending struggle between the two serves as an iconic portrayal of the "man vs. machine" battle - before pulling the rug out from under you in it's last, unexpected shot.
Jack Hawkins
Super Reviewer
August 5, 2012
Blade Runner is nothing more than a visual spectacle, and its special effects are quickly failing the test of time, which means it's swiftly losing the only feature that could be considered somewhat redeeming. The film is remarkably flat, in terms of both its characters and narrative, it is completely unengaging in its entirety. This is common with Ridley Scott's films, especially in his early career, the whole crew of 'Alien' were forgettable, much like the cast of 'Blade Runner'. I didn't sympathise with or fear any character, leading to its conventional, tired plot lacking any device to thrill, entertain or ultimately keep me watching, it took an act of will and devotion towards my friend (who is a fan of BR) to endure the whole thing. I have been aware of the film and its reputation for years, however I had never been that interested in seeing it, but I felt obliged to see it, I'd always get looks and utterances of mock outrage when I said I hadn't seen it. Well, now I have, and next time I can reply with 'Yes, I have seen it, and it's one of the most overrated films I have ever seen.'
Super Reviewer
July 5, 2007
There's nothing to say that hasn't been said: simply a great, great blending of science fiction and film noir, aided and enhanced by a dreamy futuristic Vangelis score.
Super Reviewer
August 1, 2012
Blade Runner is an incredible science fiction film that has a compelling and interesting noir plot, impressive direction and sets, and great characters.
Super Reviewer
July 8, 2012
'Blade Runner'. A stunning dystopian vision that stands the test of time realised by Scott, the production designers and the synth-heavy, ethereal score, all the while asking what really does make us human.

When the lines are blurred this heavily by the increasingly human actions of the Nexus series, and the ambiguity around Deckard with Gaff seemingly aware of his unicorn dream, does it really matter?
Super Reviewer
October 29, 2006
When four artificial humans return to Earth to seek their maker and extend their lifespans, an ex-"Blade Runner" is sent in pursuit to "retire" them. Based on a story by Philip K. Dick, Blade Runner is a true watershed in the evolution of science fiction cinema. It's one of the most visually influential films ever made and although William Gibson's novel Neuromancer is often cited as the birth of "Cyberpunk", he freely admits that Ridley Scott did it first. Although most cyberpunk influenced movies look very silly in this day and age, Scott's future detective story created its own sub-genre (often referred to as "tech noir") by skillfully blending the format of Film Noir with the visual trappings of science fiction making for an immersive world that is the melting pot of styles and cultures of an overpopulated near future. And considering that this film is now three decades old, it still looks incredible. Harrison Ford's burnt out detective who is sick of his role as executioner is a far more interesting protagonist than the usual Hollywood action hero and his showdown with a typically intense Rutger Hauer while he is coming to terms with his new and burgeoning emotions is one of the greatest ever committed to celluloid. A timeless classic and personal favourite, and yet another reason why Ridley Scott is rightly considered to be one of the best in the business.
Super Reviewer
December 28, 2010
A dazzling post-modern sci-fi noir with an evocative atmosphere and a fascinating philosophical story about humanity, death and oblivion. The splendid ultimate deluxe version, or Final Cut, is considerably superior to the theatrical one, without its cheap, concocted happy ending and expository narration.
Movie Monster
Super Reviewer
March 24, 2012
The year is 2017 and Replicants, a type of android that is identical to humans, are created and sent to Off-world colonies to work as slaves. After a mutiny, Replicants become illegal on Earth. Police squads known as Blade Runners are given the order to kill Replicants who trespass onto Earth. Rick Deckard, an ex-cop, ex-killer, ex-Blade Runner, is sent back to work after four Replicants, or "skin jobs", make their way to Earth. This band of Replicants is led by Roy Batty, who plans to unleash his vengeance on his creator, Dr. Eldon Tyrell. Along the way, Deckard grows a relationship with Dr. Tyrell's Replicant assistant, Rachael.

Blade Runner is a very good film, but I did not find myself loving it like many other people. I do think the story and effects were ahead of its time, but in my opinion, they feel dated by today's standards. I take that back about the story. I can't think of any other complex sci-fi flicks that have to do with androids that were released before Blade Runner. There were some things that I did enjoy. The effects were very cool, the writing and storytelling is strong, and the acting is very good. Blade Runner is based on Philip K. Dick's novel, "Do Androids Dream of Electric Sheep?" Once you see the film, you'll understand the title of the novel more clearly. The film is very complex and mental. It has to do a lot with how the mind works. I guess this is where Inception may have gotten some inspiration. I didn't fully understand the movie after my first viewing. I had to read theories and explanations on the Internet and they surely gave me a better understanding. Blade Runner's story is very cool. I was a little bugged by the pacing. I watched both the original cut and the Director's cut and they seemed to pace the same way. The tone of each version was different however and I really appreciated that.

Harrison Ford takes on the lead role in Blade Runner and he portrays Rick Deckard very well. He also adds emotion into the performance. He knew how to kick butt. The supporting cast is all good, but I though Rutger Hauer was great as Roy Batty. He just had that sinister looks on his face and every time he appeared on screen, you know he's up to something. His famous "Tears in the Rain" monologue was just epic. Sean Young did a good job as Rachael, the innocent Replicant. Edward James Olmos' character was pretty cool and I liked Daryl Hannah as the seductive Replicant, Pris. Now I have a crush on the character. The cast played their parts very well.

Blade Runner is indeed a well-crafted film. Ridley Scott's direction is awesome. He claims it to be the most "complete" and personal film he has directed. The cinematography and atmosphere in the film is exciting. This is a good example of an escapism film. The original cut of the film is pretty good, but I prefer the 1992 Director's cut. It had more a dark and mysterious tone while the original one felt more like an action thriller. Either way, both version is worth taking a look. I plan to get my hands on The Final Hands and the Workprint version. The score in the film is like a mix between jazz and electronic music and I did like it. Blade Runner was a very good film. I'm glad that I watched it. I just wasn't blown away like many people. I need to re-watch the film again since I feel I'm missing something. I did catch one of the most important themes and I was able to see why many people call think this is influential. It may take me a few more viewings before I come to understand the film. Anyways, Blade Runner is an original and epic sci-fi film.

"Wake up! Time to die!"
Super Reviewer
½ March 20, 2012
The premise is very interesting and the story is good up until the end when long developing story lines come to an abrupt end. It is the movie's setting, however, that decides the fate of it for most viewers. The dark and disturbing backdrop sets the mood of the movie perfectly, but is also aesthetically displeasing. I think it is a good movie if you are into the dark sci-fi thing, but awful if your are not, and I'm caught in the middle.
Matthew Roe
Super Reviewer
March 19, 2012
The film that can contest as the catalyst for creating the cyber-punk sub genre is the greatest science fiction marvel that has so far been released. The practical effects are amazingly constructed and detailed and the computer effects are forever timeless. Based off the eclectic work by author Phillip K. Dick, "Blade Runner" sets the dystopian tone for what is an epic of magnanimous proportions. Acting by Harrison Ford and Rutger Hauer are some of the best in film history as well as the personal drama that is experienced when life is in such short supply. Death is constantly publicized, investigated and shirked by all characters in the film and the frailty of existence sets the overall tone. The pacing, the writing, the direction, everything is perfectly in balance that very few films have ever achieved, and will ever achieve. A reflection again on our pursuit of technology and dominance that concaves and makes us look harder into the mirror, to discover who we are and where we are ultimately going.
Super Reviewer
June 12, 2010
Director Ridley Scott released "Alien" in 1979. For many, it stands as one the finest science fiction films ever made. A mere three years after it though, he delivered "Blade Runner". It was wrought with production problems, a less than happy crew and abundant studio interference. The end result, however, would lead you to believe that everything went smoothly. This is the definitive of science fiction movies and Scott's finest film.
Los Angeles, 2019: Rick Deckard (Harrison Ford) is a 'Blade Runner' - a unit of the police force that hunt and kill human clones, known as 'Replicants'. Replicants have been declared illegal after a bloody mutiny on an Off-World Colony, and are to be terminated upon detection. Some have escaped and prowl the streets of Los Angeles looking for answers from their creator. This is when Deckard's services are called upon.
Loosely based on the novel "Do Androids Dream Of Electric Sheep" by, the master of the genre, Philip K. Dick. If you are familiar with Dick's immersive and intelligent ideas, then you'll know exactly why this film works on so many levels. On the surface, it one of the most gorgeous pieces of cinema ever committed to the screen. The opening shot of the vast, dystopian city of Los Angeles - dubbed "The Hades Landscape" - is an absolute feast for the eyes and
a vision that's yet to be beaten, even by today's standards. The city itself is stark, rain drenched and has a heavy Eastern influence. Giant global corporations are rife; slavery, overcrowding and a decaying environment permeate the proceedings. Cinematographer Jordan Cronenweth can't be praised enough for his eye in capturing this inhospitable future world. This is also helped immeasurably in it's realisation by Production Designers Lawrence G. Paull and Syd Mead; Art Director David L. Snyder and Douglas Trumbull's exquisite special effects. Everyone pulls their weight in capturing the sheer visual beauty of this film. Underneath the luscious surface, courses a deep and philosophical pondering. The reference to French philosopher Rene Descartes and his metaphysical statement "I think, therefore I am", addresses the doubt we have as living beings and the nature of our existence. It's a recurrent theme throughout the whole picture.
It's a film that is renowned for being tinkered with. Several different cuts were released over the years. The original had Harrison Ford supply a Philip Marlowe like voice-over, talking us through the events. This was deemed insulting to the audience as it caused continuity problems. However, I actually liked it. It gave a film-noir feel that complimented the look of the film but no matter which cut you prefer, the film is still a masterpiece regardless. It also boasts excellent performances from its entire cast. Ford has been outspoken about his dislike for the film but he has rarely performed better and Rutger Hauer is commanding throughout - with his shiver inducing, "Tears in Rain" monologue, going down as one of cinema's classic scenes. The haunting soundtrack by Vangelis also deserves mention and accompanies Ridley Scott's creativity perfectly.
It's testament alone that with all the big budget special effects these days that a film done in the early 80's still stands as one of the most amazing visual spectacles ever made. And how many films do you come across, that not only look astounding but also channel Film-Noir and Cartesian doubt?
This connects on a visual, emotional and philosophical level that few films have ever achieved.
Super Reviewer
December 23, 2007
Believe me when I say that I've spent not just hours but days talking about this film with fellow film fans. I think it's a contender for the most positively and thoroughly discussed film in the history of cinema. At one time that mantle might have belonged to Star Wars, but negativity is what surrounds that film now, unsurpisingly. It's a safe bet to say that Blade Runner, no matter what cut you're watching, is the best film Ridley Scott ever committed to celluloid (with Alien following a close second). While it can be both dark and brooding it winds up being a story about humanity. When it comes to the actual story mechanics, fans are mostly divided on whether Rick Deckard's character is really a replicant or not. If he is, then it's a story about a man realizing he isn't what he thought he was. If he isn't, then the story's about discovering your humanity. As far as I'm concerned, I don't have a firm foothold in one direction or the other. I find the questions and the discussion about it infinitely more interesting than actually forming an answer, which is why I've discussed this film over and over again with fans. Most of the time it's good-natured debate, yet other times it's very passionate. Either way, the film is so widely open to intrepetation that it's not much fun to form an opinion on the matter. When it comes to which version to watch, I prefer both The Final Cut and the Original Theatrical Cut (depending on my mood). If you haven't seen it and you're wondering which version to see, I'd recommend The Final Cut the most as it's the director's intended vision. No matter which version of Blade Runner you choose to see, get ready to witness a true work of art in cinematic form.
Super Reviewer
August 8, 2011
Every sci-fi movie today has this movie in its DNA. The gritty noir setting of 2019 L.A. is one of the most memorable and iconic visions of the future. The synth score is ambient and haunting. The mysterious atmosphere of the film gives the it a dream-like quality that is simply magical. The film has a slow neo-noir story that delves into the philosophical issues pertaining to what makes us human and the human condition. Their are two versions of the film, the theatrical version and the Director's Cut. The theatrical version has a useless campy narration by Harrison Ford and a tacked on happy ending. The Director's Cut removes the narration and it is closer to Ridley Scott's original vision. The movie is also more thought provoking without the narration. I prefer the Director's Cut. Blade Runner is one of the greatest sci-fi movies ever made, it has an influence that is still felt to this day.
Super Reviewer
½ October 31, 2011
Ridley Scott's second sci-fi masterpiece is a much more philosophical look into the future. Filled with more breattaking cinematography and a great performance by Ford.
Super Reviewer
½ January 21, 2011
Next to Star Wars, this is quite possibly the greatest Sci-Fi film in recent memory. Easily one of my favorites of the 80's. If you are reading this and have yet to see it; what are you doing with your life?
Super Reviewer
August 8, 2007
Probably the greatest sci-fi distopian flick made, Really grim yet sooo ice cool. Hauer rules in this, so uneasy so lethal and unpredictable, the score is spooky and touching and the action is cold and realistic. So many details and so many different stories haunt this film from creation to final cuts which makes it so historic in cinematic history. Love those futuristic police Spinners, love the look of futuristic LA, the dark rainy look, the architecture, its all another work of art from Scott.

Blade Runner: International Cut, 82

Personally I liked the narration by Deckard during the film, it gives it a more classic black n white noir detective feel, which its suppose to be like really. The added seconds of gore n blood do add that extra punch too, good version and better without the 'Legend like' unicorn dream sequence in my opinion (which appeared after this cut in the Director's cut in 92, but that was not Scott's actual version, others did it I believe)

The recent final cut is of course the best and most picture perfect version. The few touch up's (unlike Star Wars) actually do improve the film and finish it. The workprint recently available in the 5disc DVD tin is probably my favourite version now.
Super Reviewer
August 2, 2009
The thing to know about Blade Runner is, despite the futuristic setting, the story of cops and criminals and a whole assortment of other things which Michael Bay would jump for joy at, it's difficult to like the first time around. This is proved by the fact that there are around about a million director's cuts after the theatrical release, chopped and changed by the studio who also found it difficult to like the first time around. But after watching Ridley Scott's vision in the director's/final cut of the film more than once, the true genius of this film can be realised.

We follow Rick Deckard, a retired Blade Runner, whose job description was "retiring" Replicants who are exactly what you think; synthetic humans. After a group of fugitive Replicants cause a stir on Earth, Rick is brought out of retirement to track them down.

I am one of the few people who have read the book "Do Androids Dream of Electric Sheep?" Phillip K. Dick's sci-fi which the film is based on and, let me tell you, there's a marked difference between it and the film. The film's moody presence and foreboding atmosphere, its noir-centric style and its intriguing and troubled central characters are almost all products of the film, not the source material. It's a tribute, then, to Ridley Scott's vision that the film is all these things and more. Opening with hypnotic wideshots of a dystopian world where flames billow skyward from smokestacks below and moving into the opening sequence with Leon's interrogation, all underscored by a Vangelis electronica, it's clear that Scott's vision is not going to be easy going. Scott is unafraid of moving slowly through a scene; focussing on a detail or nuance for a time before moving on. This means that each and every moment hits with a thud without being trampled by the next one. He also shows his keen eye for visuals. There is a reason that Blade Runner is the preferred example for film teachers everywhere for matters relating to noir and Scott's imagery is why. Contrast and shadows abound with silhouettes and smoke creating a world with the same murky quality as the subject matter involved. Scott also manages several action sequences without breaking the movie's style, making each second rivetting in each scene. His production team must also be mentioned here, as the visuals in the movie would not have been as mesmerising without the incredible city design. Like Alien before it, Scott's film manages to create a future civilisation which is recognisable but so removed from today's world. It's a bleak outlook, filled with synthetic animals and synthetic humans alike, an almost sterile quality to the surrounds. Scott manages to bring this all together with the story seamlessly.

Harrison Ford was already Han Solo and Indiana Jones by the time Rick Deckard rolled in. The character is so far removed from these two jovial heroes that it must have been a confusing choice to begin with. But the casting is perfect. Ford's comedic side occasionally comes to surface but his hard-bitten, cynical persona is the dominating one here and he portrays it brilliantly. His sarcastic smile is also out in force but it's the restraint which he shows which is the most fascinating here. Some scenes involve very few lines and Ford doesn't seem altogether willing to give much away to the viewers, preferring to keep them in the dark as to his true feelings. It's this sort of depth which gave the studios the idea to record a voiceover for Deckard, something which neither Ford or Scott wanted, for the theatrical release. But after repeat viewings his performance becomes more and more impressive without the overblown emotion or character arc which Oscars are given out for. Sean Young plays Rachael, Deckard's eventual love interest. Her performance is a hard one to nail down as she plays jumprope with the line between femme fatale and damsel in distress. It is easy to tell that it's amazing, however, as she's able to convey mountains of emotion and intention with a flick of her eyelashes. Her interview with Deckard is one of the best moments in the film and is filled with an uneasy sexual tension coupled with a testing each other out feel. She is a key player in a difficult film and as such the burden of responsibility must way heavy but she never seems to show it. The eventual sexual overflow reaches a climax when Rachel turns up at Deckard's apartment and the strained emotion is beautifully portrayed by both actors. The two of them apart are fantastic but together the two of them are spectacular. But stealing the show with a brilliantly batshit performance is Rutger Hauer as Roy Batty. His icy, detached yet fascinated glare is always intriguing and downright scary at times and his delivery of his perfectly left of centre lines is as alienating and magnetic as it gets. Ordinary lines like "police-man?" turn into pure gold with his performance and his genuinely disturbing turn to unhinged is an amazing thing to watch. And of course, there's that incredible line about c-beams and attack ships which might have been overly sentimental in someone else's hands but with Hauer it's so haunting and riveting that it'll stick with you for a while.

Vangelis also adds to the film's atmosphere with a haunting electronic score, perfectly underscoring what's happening onscreen. Despite the fact that it's not very flashy or rousing, it's perfect for the film. The very first scene is one of the better opportunities which the score gets to shine, permanently marking Scott's skyline with its slowly invading hum. It's a brilliant piece of work in an incredible composer's repertoire despite being overshadowed by his work in Chariots of Fire.

Hampton Fancher and David Webb Peoples' work with the script is something so often overlooked in a film glorified for its style and sumptuous imagery, but it's a masterclass in restraint and realism. Deftly moving between the strange romance between Deckard and Rachel and the ongoing police drama, Peoples and Fancher are able to manage all the aspects of their story with a strangeness and surreal quality which is almost impossible to replicate. It's almost reminiscent of Paul Schrader's ability to rivet and unnerve in the way that each scene is impossible to look away from but subtly disturbing in so many ways. It had to be an incredible script to support Scott's and it definitely is, in its realism and its restraint and Peoples and Fancher's ability to juggle so many complex relationships so fully.

Ridley Scott's vision is beautifully realised in this cyberpunk masterpiece which will forever leave its dystopian mark on cinema. It's not often you see flying cars and unicorns in the same film.

Defining Scene:
It's tough to say but it might have to be the Batty and Deckard showdown culminating in that amazing line.

I need ya, Decks. This is a bad one, the worst yet. I need the old blade runner, I need your magic.

You're in a desert, walking along in the sand, when all of a sudden you look down...

Fiery the angels fell. Deep thunder rolled around their shoulders... burning with the fires of Orc.

Describe in single words only the good things that come into your mind about... your mother.
My mother?
Let me tell you about my mother.

Quite an experience to live in fear, isn't it? That's what it is to be a slave.

It's too bad she won't live. But then again, who does?

I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhauser gate. All those moments will be lost in time... like tears in rain... Time to die.
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