Blade Runner


Blade Runner

Overview:

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.

Votes 3452 (7.9/10)

Runtime: 117 minutes

Release Date 1982-06-25

Budget: $28,000,000.00

Revenue: $33,139,618.00

Website: Link

Tagline: Man has made his match... now it's his problem.

Production company:

  • Shaw Brothers
  • Warner Bros.
  • The Ladd Company

Production country:

  • United States of America
  • Hong Kong
  • United Kingdom

Genres:

  • Science Fiction
  • Drama
  • Thriller

Trailer

Further Information

Rick Deckard
Harrison Ford
Harrison Ford
Roy Batty
Rutger Hauer
Rutger Hauer
Rachael
Sean Young
Sean Young
Gaff
Edward James Olmos
Edward James Olmos
Eldon Tyrell
Joe Turkel
Joe Turkel
Pris
Daryl Hannah
Daryl Hannah
J.F. Sebastian
William Sanderson
William Sanderson
Leon Kowalski
Brion James
Brion James
Bryant
M. Emmet Walsh
M. Emmet Walsh
Zhora
Joanna Cassidy
Joanna Cassidy
Hannibal Chew
James Hong
James Hong
Holden
Morgan Paull
Morgan Paull
Bear
Kevin Thompson
Kevin Thompson
Kaiser
John Edward Allen
John Edward Allen
Taffey Lewis
Hy Pyke
Hy Pyke
Cambodian Lady
Kimiko Hiroshige
Kimiko Hiroshige
Saleslady
Carolyn DeMirjian
Carolyn DeMirjian
Howie Lee
Bob Okazaki
Bob Okazaki
Director
Ridley Scott
Ridley Scott
Producer
Michael Deeley
Michael Deeley
Director of Photography
Jordan Cronenweth
Jordan Cronenweth
Original Music Composer
Vangelis
Vangelis
Production Design
Lawrence G. Paull
Lawrence G. Paull
Casting
Jane Feinberg
Jane Feinberg
Casting
Mike Fenton
Mike Fenton
Casting
Marci Liroff
Marci Liroff
Editor
Marsha Nakashima
Marsha Nakashima
Art Direction
David L. Snyder
David L. Snyder
Set Decoration
Linda DeScenna
Linda DeScenna
Set Decoration
Leslie McCarthy-Frankenheimer
Leslie McCarthy-Frankenheimer
Set Decoration
Thomas L. Roysden
Thomas L. Roysden
Costume Design
Michael Kaplan
Michael Kaplan
Costume Design
Charles Knode
Charles Knode
Screenplay
Hampton Fancher
Hampton Fancher
Screenplay
David Webb Peoples
David Webb Peoples
Novel
Philip K. Dick
Philip K. Dick
Production Manager
Alan Collis
Alan Collis
Assistant Art Director
Stephen Dane
Stephen Dane
Construction Coordinator
James F. Orendorff
James F. Orendorff
Property Master
Terry E. Lewis
Terry E. Lewis
Production Illustrator
Mentor Huebner
Mentor Huebner
Production Illustrator
Tom Southwell
Tom Southwell
Production Illustrator
Sherman Labby
Sherman Labby
Dialogue Editor
Mike Hopkins
Mike Hopkins
Sound Editor
Peter Pennell
Peter Pennell
Sound mixer
Bud Alper
Bud Alper
Stunt Coordinator
Gary Combs
Gary Combs
Camera Operator
Albert Bettcher
Albert Bettcher
Camera Operator
Dick Colean
Dick Colean
Camera Operator
Robert C. Thomas
Robert C. Thomas
Still Photographer
Stephen Vaughan
Stephen Vaughan
Additional Photography
Brian Tufano
Brian Tufano
Additional Photography
Steven Poster
Steven Poster
Publicist
Saul Kahan
Saul Kahan
Thanks
Philip K. Dick
Philip K. Dick

Vincent

**Planet Noir** I declare _Blade Runner_ the best sci-fi movie of all time. Arguments? No? Okay. So long. Please upvote the guest book on your way out. WAIT! There's more. At the risk of whistling conspiracies and setting off inappropriate vibrations in your slacks, you see, this Ridley K. Dick concoction is going on right now. While we're all transfixed by the endlessly goofy droppings from the web, forever staring down and swiping things on our smarty-pants phones, retweeting selfies of infinitely mirrored selfies; proliferating at light speed, every aspect of humanity is being replicated, perfected, mechanized, optimized, upgraded, fortified, robofied, Googlized, quantumized, DNA'd and NSA'd and will soon converge to fall upon and supplant us, and Harrison Ford, despite looking trim for his years, will be too old to stop it! And the irony to end all ironies is that we, as the irresponsibly arrogant, over-infested and narcissistic caretakers and consumers, and the colossal defecators of this broken-down, flea-bag of a planet, are entirely fundamentally responsible. No, the irony of all ironies is that a world exclusively dominated by self-correcting technocratic cyborgs with zettabytes of artificial intelligence will be a vast improvement. The androids are saving the planet! AHHH, run for your life! Blade Runner is both an expired cautionary tale and emerging utopian fantasy. Oh, you knew this already? Very well. Carry on. Enjoy your self-driving cars and virtual nature tours.

John Chard

Retirement - Replicants - Resplendent. Blade Runner is one of those glorious films that has gained in popularity the older it has gotten. Ridley Scott's follow up to the critical and commercial darling that was Alien, was by and large considered a flop and damned for not being a science fiction action blockbuster. There was of course some fans who recognised its many many strengths during the initial weeks of its 1982 release, but many who now claim to have loved it back then are surely looking sheepishly in the mirror these days, for the hard-core minority of 82 fans remember it very differently. Remember the spider that lived outside your window? Orange body, green legs. Watched her build a web all summer, then one day there's a big egg in it. The egg hatched... Anyway, that's by the by, the point being that a film can sometimes be ahead of its time, misunderstood or miss-marketed, Scott's masterpiece is one such case. Story, adapted in fashion from Philip K. Dick's story, Do Androids Dream of Electric Sheep? Is pretty simple. It's a dystopian Los Angeles, 2019, and there are four genetically engineered Replicants - human in appearance - in the city, which is illegal. They were designed to work on off-world colonies, any Replicant who defies the rules will be retired by special police assassins known as Blade Runners, and Blade Runner Rick Deckard (Harrison Ford) is on this case. A case that will prove to have many layers... A new life awaits you in the Off-world colonies! A chance to begin again in a golden land of opportunity and adventure! Ridley Scott gets to have all his cakes to eat here, managing to blend intriguing science fiction with film noir. That the visuals are outstanding is a given, even the film's most hardest critics grudgingly acknowledge this to be an eye popping piece of visual class - the mention of eyes is on purpose since it's forms a key narrative thread. That it is awash with eye orgasms has led to critics calling a charge of beauty over substance, but the deep themes at work here tickle the brain and gnaw away at the senses. Quite an experience to live in fear, isn't it? That's what it is to be a slave. Mood is set at perpetually bleak, a classic film noir trait, and paced accordingly. Scott isn't here to perk anyone up, he's here to ask questions whilst filtering his main characters through a prism of techno decay, of humanity questioned to the max, for a film so stunning in visuals, it's surprisingly nightmarish at its core. The emotional spine is ever present, troubled when violence shows its hand, but it's there posing an intriguing question as the Replicants kill because they want to live. And this as our antagonist, Deckard (Ford a brilliantly miserable Marlowe clone), starts to fall for Rachael (a sensually effective femme fatale portrayal), one of his retirement targets. Tears in the Rain. As Rutger Hauer (never better) saunters more prominently into the story as head Replicant Roy Batty, the pic evolves still more. Haunting lyricism starts pulsing away in conjunction with Vangelis' rib shaking techno score, while Jordan Cronenweth's cinematography brings Scott's masterful visions to life, key characters one and all. Visuals, aural splendour and dark thematics - so just what does it mean to be human? - Indeed, curl as one in a magnificent cinematic achievement. A number of cuts of the film are out there, and all of them have fans, but Scott's Final Cut is the one where he had total artistic control, and the scrub up job across the board is quite literally breath taking. 10/10

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