Reviled on release, who would have thought that Ridley Scott's sci-fi noir would go on to become so influential and retrospectively acclaimed?
Blade Runner - The Final Cut (1982)
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Reviews Counted:36
Fresh:34
Rotten:2
Average Rating:8.7/10
Runtime: 2 hrs 18 mins
Genre: Science-Fiction/Fantasy
Box Office: $1,209,101
Synopsis: Twenty-five years after the initial release of BLADE RUNNER, director Ridley Scott uses archival footage to re-create his original vision for the sci-fi classic. Based on a story by Philip K. Dick,... Twenty-five years after the initial release of BLADE RUNNER, director Ridley Scott uses archival footage to re-create his original vision for the sci-fi classic. Based on a story by Philip K. Dick, the film is set in Los Angeles in 2019. Earth has become a polluted and miserable dystopia, and many people have fled to live "Off World" on other planets. This dreary vision of the future features replicants: lifelike robots built as slaves for human use. When a replicant escapes his owner, a "blade runner" is called in to hunt him down and kill him. Enter Harrison Ford as the retired blade runner Rick Deckard. He is pulled out of retirement to help catch four escaped replicants: Batty (Rutger Hauer), Leon (Brion James), Pris (Darryl Hannah), and Zhora (Joanna Cassidy.) Despite his distaste for the job, Deckard is soon hot on their heels, tracking them down one by one through the over-crowded, crumbling city streets. In the midst of his hunt, Deckard becomes involved with a beautiful replicant named Rachael (Sean Young). Rachel has fled her owner, and Deckard rightfully should kill her. However, the two fall in love, and after some startling revelations, they are both soon on the run from the very authorities that once employed Deckard. This final cut is a bleaker, more cynical version of an already dark film, which might explain why the studio insisted on a softer, more optimistic ending when it was first released. While some superfans might take issue with some of the revelatory new twists, they will no doubt delight in the quality of the digital restoration. The special effects were already impressive for 1982, but these new touch-ups give them a look that appears just as sharp and imaginative as the sci-fi films of today. [More]
Starring: Harrison Ford, Rutger Hauer, Sean Young, Daryl Hannah
Starring: Harrison Ford, Rutger Hauer, Sean Young, Daryl Hannah, Edward James Olmos, M. Emmet Walsh, William Sanderson, Brion James
Director: Ridley Scott
Director: Ridley Scott
Story: Philip K. Dick
Screenwriter: Hampton Fancher, David Peoples
Producer: Michael Deeley
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Reviews for Blade Runner - The Final Cut
Scott has said, “Why watch a film seven times? Because someone’s done it right and transported you to its world.” This retooling makes the film worth an eighth trip, and more. Not a case of Blade Runner Redux, but Blade Runner Deluxe.
Beg, borrow or steal a ticket to see it on the biggest screen you can find.
Blade Runner has only gotten better with time. Do yourself a favor and pass over anything new in theaters and go for this old classic, it still has the power to dazzle and amaze.
Blade Runner, which does not look one bit dated, envelops us so completely in its off-kilter, near-future world.
If the total cinema package does not hit one over the head, it nevertheless provides more food for thought this time around.
The film's noisy sound mix and congested pictorialism--as if it had been directed by a crazed, postmodern Von Sternberg--is a direct corollary to its moral ambiguity and sense of climactic human expiration (technological and social).
Blade Runner is so good, it doesn't even have to be changed. The dialogue is so fascinating you can always hear it.
Forget coherent story or developed characters. The picture was created for special effects and production design, succeeding handily in that regard.
The opportunity to see one of the milestone visual achievements in a big hall with a giant screen is not to be missed. And even if you saw Blade Runner in a theater in 1982, this will be an entirely new experience.
It may be a quarter of a century old, but Blade Runner still seems like the future . . .
The changes are minor, but the overall effect is a much cleaner, more logical, and more organically flowing movie.
The new version helped me see the soul because, ironically, this rendering is so much brighter. Noir or not, a film you can’t see properly is a film you can’t fully appreciate.
For all its armor of brutalizing urban dystopia (and, boy, is there a lot of that -- you could fund a war on terror with the fog- and rain-machine budgets alone), Blade Runner has a gooey center.
Much of the film's erotic charge and moral and ideological ambiguity stem from the fact that these characters are very nearly the only ones we care about.
Probably close to being on par with Fritz Lang's Metropolis in terms of grandeur -- although of a stunningly different and far more unsettling kind.
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