After a space merchant vessel perceives an unknown transmission as a distress call, its landing on the source moon finds one of the crew attacked by a mysterious lifeform, and they soon realize that its life cycle has merely begun.
Ellen Ripley is rescued by a deep salvage team after being in hypersleep for 57 years. The moon that the Nostromo visited has been colonized, but contact is lost. This time, colonial marines have impressive firepower, but will that be enough?
Luke Skywalker joins forces with a Jedi Knight, a cocky pilot, a Wookiee and two droids to save the galaxy from the Empire's world-destroying battle station, while also attempting to rescue Princess Leia from the mysterious Darth Vader.
After a daring mission to rescue Han Solo from Jabba the Hutt, the Rebels dispatch to Endor to destroy the second Death Star. Meanwhile, Luke struggles to help Darth Vader back from the dark side without falling into the Emperor's trap.
In the 21st century, a corporation develops human clones to be used as slaves in colonies outside the Earth, identified as replicants. In 2019, a former police officer is hired to hunt down a fugitive group of clones living undercover in Los Angeles.Written by
Ridley Scott was dismayed to discover that American crews operated very differently from British ones (this was Scott's first American film). In his native UK, Scott was primarily a camera operator and would always step behind the camera to see through the viewfinder himself. This wasn't common practice in America and led to much tension between director and crew. Scott also frustrated cast and crew by continuously making changes to sets and story. Screenwriter David Webb Peoples, who was asked to re-write the screenplay throughout the shoot, often found that his re-writes were already obsolete by the time he handed them in. See more »
(at around 13 mins) When Deckard and Bryant are reviewing the video from Leon's VK empathy test, the dialogue between Leon and Holden is not as fast as it was in the original scene. In addition, Leon is heard to say "Uh..." prior to identifying his hotel room number, which he does not do in the earlier version of the scene. See more »
Female announcer over intercom:
Next subject: Kowalski, Leon. Engineer, waste disposal. File section: New employee, six days.
See more »
The opening credits sequence features a detailed, dictionary-style definition of the word Replicant. See more »
CBS edited 3 minutes from this film for its 1986 network television premiere. Some of the missing scenes include:
Bryant's line "Don't be an asshole Deckard" was changed to "Don't be an ass Deckard".
The word "Christ" was cut from Byrant's line "Christ Deckard, you look almost as bad as that skin job you left on the sidewalk"
The word "goddamn" was cut from Bryant's line "He's a goddamn one man slaughter house."
All scenes showing Zhora's breasts have been removed.
Roy's line, "I want more life fucker/father" was changed to "I want more life".
Roy's murder of Tyrell is much shorter than in all other versions.
The fight between Pris and Deckard is heavily edited; all shots of Pris thrashing on the ground after being shot were cut, as were all the scenes where Deckard's head is trapped between her legs.
This is a film that is so deep, rich, and multi-layered, it may require more than one viewing to fully absorb the brilliance of what you've just seen. At first glance, it can be a bit slow. It's told in a classic film noir fashion, so this is to be expected. Director Ridley Scott seems to want to savor every shot, and an astute audience will be able to sense this.
Now, I say the film is told in a classic Noir style, but this can be misleading. There is no Humphrey Bogart in Blade Runner, snapping off brilliant one-liners once a second. Only hopeless people, in many ways victims of the merciless world of which they are all a part. Deckard is a typically downbeat protagonist, a hard-boiled cynical leading man with a weakness for heavy drinking. The plot is a mystery in name only, as the audience is allowed to know what Roy Batty, Pris and Leon are all up to before Deckard ever finds out. This only lends to the dread and inevitability of the film, lending further to its pervasive gloom. There is no final scene at the end where the bold detective puts all the pieces together and says "Ah-Ha!". Instead, we find Rick Deckard questioning his own existence and drinking away his constant doubts, all the while embroiled in a romantic relationship with someone he's sworn to kill.
Blade Runner requires audience participation, particularly in the Director's Cut, which is entirely devoid of some rather necessary exposition provided by the Original Cut's much-maligned voice-over. Certain facts will not be clear even at the end of the film, requiring personal interpretation in order to be appreciated fully. Other facts will be given away in much more subtle ways than in most modern cinema, such as through visual cues and tenuous dialogue.
Finally, visually, this movie is quite simply a science fiction triumph. It looks better than modern computer effects in every way that counts. Superimposed special effect objects don't give off that unnatural, clearly computer-generated "Lord of the Rings" sheen common in today's effects-driven blockbusters. This, of course, is because Blade Runner - while a gorgeous movie - is not effects driven in the least. Rather, it is a visually driven story that doesn't rely on special effects. This is an important distinction to make in today's Hollywood.
"Touch of Evil" really wasn't the last of the Great Film Noirs!
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