#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – In the futuristic year of 2019, Los Angeles has become a dark and depressing metropolis, filled with urban decay. Rick Deckard, an ex-cop, is a “Blade Runner”. Blade runners are people assigned to assassinate “replicants”. The replicants are androids that look like real human beings. When four replicants commit a bloody mutiny on the Off World colony, Deckard is called out of retirement to track down the androids. As he tracks the replicants, eliminating them one by one, he soon comes across another replicant, Rachel, who evokes human emotion, despite the fact that she’s a replicant herself. As Deckard closes in on the leader of the replicant group, his true hatred toward artificial intelligence makes him question his own identity in this future world, including what’s human and what’s not human.
Plot: 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.
Smart Tags: #tech_noir #human_android_relationship #cyberpunk #police_detective #female_android #existentialism #megacorporation #neo_noir #fugitive #dystopia #replicant #android #legal_rights_of_artificial_life_form #artificial_intelligence #2010s #blade_runner #future #artificial_lifeform #bradbury_building #fragments_of_memory #photo_enhancement
|8.1/10 Votes: 698,571|
|7.9 Votes: 10183 Popularity: 29.864|
I have only viewed the Final Cut, and judging by reviews elsewhere this is possibly the most complete and satisfying version of them all.
I cannot truthfully say I am in awe with this film as I found it quite plodding at times. But having said that the visionary aspects, the bleak surrounds, and the air of hopelessness that permeates throughout most of the film is exceptionally well done.
I would hazard a guess it wasn’t a big success at the box office back in 82/83 chiefly because of the likes of ET, and Raiders of the Lost Ark, Return of the Jedi and quite a few other adventure/SF films of the time pushing this film into a dark corner. Another reason could be because it was too slow for those brought up on Star Wars; or just too unengaging for those looking at it from a murder-mystery perspective (I recall reading that the original version had Ford do a Marlowesque voice over).
An impressive film for all that, with some delightful special effects, and a decent performance from Ford. But of course for me the true delight was Roy’s “Time to Die” speech at the end. If there was an Oscar for best speech in a film, he would have won it with ease!
Some people will say this classic sci-fi “has nothing to offer other than overrated cult-status”. To that, I would respond, “it has Rutger Hauer on a rooftop, and that’s enough for me”.
_Final rating:★★★★ – Very strong appeal. A personal favourite._
(3.5 for the Theatrical Cut, 4.0 for the Final Cut)
A Milestone Of Science Fiction And A Cyberpunk Masterpiece
A feast for the eyes. Dark and uncompromising. With a haunting musical score by Vangelis that adds a hypnotic quality to those breathtaking megacity landscapes of future Los Angeles. Ridley Scott’s adaptation of Philip K. Dick’s post-apocalyptic bounty hunter story ‘Do Androids Dream Of Electric Sheep’ is a visionary work of art; it’s a dystopian masterpiece and I’d personally call it as much a milestone of science fiction as Kubrick’s ‘2001’ (and be advised to watch the version known as the “final cut” if you want to catch ‘Blade Runner’ as it was intended by its director).
It’s hard to overstate how influential the film was; it invented the sci-fi subgenre now known as “cyberpunk”, and it was also the first “film noir” in a sci-fi setting. And although it looks so distractingly gorgeous that even today there are people who still dismiss it as superficial and mere “eye candy”, it is a philosphically deep film that ponders existential questions about the nature of being human. Its slow, brooding quality will perhaps leave some modern audiences who are used to a different pace and more action underwhelmed – but make no mistake: this is a groundbreaking masterwork of its genre and a timeles classic. 10 stars out of 10.
Favorite films: IMDb.com/list/mkjOKvqlSBs/
Lesser-Known Masterpieces: imdb.com/list/ls070242495/
An incredibly beautiful-looking film as one would expect with director Ridley Scott
But it’s almost like an art movie, the first science-fiction art film It’s a futuristic film beautifully put together It’s really impeccably made by one of the great visionary directors And you really saw a future that looked very different from the future you had seen before A future that looked very believable like the visual-effects shots of the flying car going over a futuristic city The fight sequence doesn’t prepare you for the traumatic emotional side that there is in the film, it leaves you sort of broken
There is a beautiful, delicate emotional great scene that I remember when I first saw the movie I’m in the theater and I’m so drawn in what Rutger Hauer’s doing I’m so drawn in by what the theme of the movie has brought us to The magnificent moment where he is letting go of life And in those last moments of letting go of life he’s really learned to appreciate life to the point where he spares Deckard’s life, and where he’s even holding a white dove because he just wants to have something that’s alive in his hands It’s an amazing sort of crescendo that’s going and there’s Rutger saying: “I’ve seen things you people wouldn’t believe. All these moments will be lost in time like tears in rain.” Hauer puts all the things that are so amazing about people: sense of poetry, sense of humor, sense of sexuality, sense of the kid, sense of soul
Scott brought out the best qualities in his performers He coaxed and very gently manipulated performances from his actors that in some instances I think they’ve rarely topped You feel the story, you feel the emotions of the characters and you will be lost in the middle of this wild world, you know, it’s so rich and it’s painful I mean it’s a very bluesy, dark story and told very compassionately
The overpopulation, the sort of crowd scenes is so rich and varied and there’s such an extreme detail designing the magazine covers, designing the look of the punks, the Hare Krishnas, the biological salesman, everything is designed You have just Piccadilly Circus punks walking by You have a sense of layers in that society That is one of those things that you see again and again The city landscape with the big billboards à la Kyoto or Tokyo Scott was able to create the look based on what goes on in various cities all over the world Whether it is Tokyo, Kyoto or Beijing or Hong Kong or whatever, you’re right in “Blade Runner” country
“Blade Runner,” to me, embodies the elegance, the power, and the uniqueness of a film experience It’s the most classical, beautiful, purest movie-making writing and then the film-making itself is The images and the sound and the music, it’s pure cinema Ridley came out with an amazing, brilliantly executed future of an absolute dystopia The intensity of his perfectionism on “Blade Runner” made the movie This is a master at his best
Original Language en
Runtime 1 hr 57 min (117 min), 1 hr 50 min (110 min) (Workprint Version) (USA)
Genre Action, Sci-Fi, Thriller
Director Ridley Scott
Writer Hampton Fancher (screenplay), David Webb Peoples (screenplay), Philip K. Dick (novel)
Actors Harrison Ford, Rutger Hauer, Sean Young, Edward James Olmos
Awards Nominated for 2 Oscars. Another 12 wins & 17 nominations.
Production Company Blade Runner Partnership, Ladd Company
Sound Mix 70 mm 6-Track (70 mm prints), Dolby Stereo, 12-Track Digital Sound (IMAX 12 .0 Surround)
Aspect Ratio 2.20 : 1 (70 mm prints), 2.39 : 1
Camera Panavision Panaflex Gold, Panavision C-Series and Super High Speed Lenses
Laboratory Technicolor, Hollywood (CA), USA (color)
Film Length 3,102 m (director’s cut), 3,193 m (director’s cut) (Sweden), 3,200 m (Sweden)
Negative Format 65 mm (special effects) (Eastman 100T 5247), 35 mm (Eastman 100T 5247)
Cinematographic Process Digital Intermediate (4K) (master format) (2007 “Final Cut” release) (2017 remaster), Panavision (anamorphic)
Printed Film Format 35 mm, 70 mm (blow-up), D-Cinema (2K DCP) (2007 “Final Cut” release)