Bona fide science fiction classic

Ridley Scott's Blade Runner is for a very specific type of film-watcher, which is to say that it is definitely not for all tastes. Despite the presence of a few thrilling action beats, this adaptation of Philip K. Dick's Do Androids Dream of Electric Sheep? is more concerned with audio-visual immersion, esoteric cerebral expression and thematic density. Even though it flopped at the box office upon its theatrical release in 1982, Blade Runner developed into one of the most influential sci-fi movies in history, and has amassed an enormous cult following. Its reputation speaks for itself, really. Scott's vision for this universe is wholly unique, crafting a neo-noir detective story with a lot on its mind. Blade Runner outright rejects mainstream sensibilities, playing out more like an art-house film than a blockbuster, and radically diverging from the likes of Star Wars or Flash Gordon. As a result, this is very much a "love it or hate it" affair - in fact, it took this reviewer multiple viewings over several years to warm up to it, but the determination paid off; now it just keeps getting better and better.

In a dystopic future, the Tyrell Corporation have developed synthetic human beings known as replicants to be used on off-world colonies for slave labour. Replicants can be dangerous, however, and after an attempted revolt, they are declared illegal on Earth. To combat the threat, special police squads known as Blade Runner Units were formed; specialised officers who are expressly assigned to "retire" (i.e. kill) replicants on sight. In the year 2019, four renegade replicants illegally travel to Earth hoping to blend into society and potentially extend their four-year lifespan. A retired LAPD Blade Runner, Rick Deckard (Harrison Ford) is called back to duty by his former supervisor, Bryant (M. Emmett Walsh), for the sole purpose of killing the four replicants in question: Roy (Rutger Hauer), Pris (Daryl Hannah), Leon (Brion James), and Zhora (Joanna Cassidy). However, the mission is complicated when Deckard meets Rachael (Sean Young), an experimental replicant working alongside Dr. Eldon Tyrell (Joe Turkel) with implanted memories who believes she is human. Deckard finds himself falling for Rachael, compelling him to question the mission, especially when Bryant orders him to kill her as well.

With a script credited to Hampton Fancher and David Webb Peoples, Blade Runner may seem deceptively simple on the surface, but it's imbued with philosophical underpinnings, existential questions about humanity, commentary on overpopulation and environmental degradation, as well as religious and animal motifs. For the most part, too, such material is built into the fabric of the narrative rather than relying on extensive dialogue to get its point across, and as a result it doesn't feel as preachy or as pretentious as it might have been in lesser hands. Even though the movie does threaten to crush under the weight of its own self-importance during the late "tears in the rain" monologue, it's nevertheless a powerful scene. There is violence, and the visuals are stunning to observe of course, but each element exists to serve the narrative, never coming across gratuitous or empty. Blade Runner is also a feature which demands your fullest attention, lest you get hopelessly lost.

Scott exudes undeniable authority over every frame, never letting the movie out of his control, allowing the proceedings to play out at a deliberate pace which may alienate viewers without the patience required to see it through. However, this is not to say that haters are uncultured swine - if you dislike Blade Runner, the movie is simply not for you, and that's a reasonable reaction. To be fair, the pacing can be sluggish and slow-moving, and Scott keeps you at arm's length as the movie comes up short in terms of dramatic resonance. Indeed, the characters are superficial, with Deckard particularly lacking in significant development. Excised scenes and voiceovers do provide more insight into the blade runner's background, but it's evident that Scott ultimately chose to eschew character development whilst finding the movie in post-production, and as a result your mileage will vary. In addition, the storyline is admittedly threadbare; though Deckard's assignment is complicated due to a variety of factors, the trajectory itself is a tad meandering, in need of a bit more drive. I do not doubt that these intrinsic flaws are all part of Scott's vision, as Blade Runner is more about the pure experience than character exploration or dense plotting, but it nevertheless lessens the movie to a certain extent in the eyes of this reviewer.

Los Angeles is depicted here as a dark, dense metropolis filled with advertisements and bathed in perpetual rainfall, painting a scarily believable image of the future. Even though there is paid product placement, the advertisements function as a form of societal satire and reflection - after all, advertisement oversaturation already occurs. From top to bottom, the visual design of Blade Runner is awe-inspiring; Scott and his team of collaborators worked to create their own unique futuristic vision bursting with aesthetic beauty, flawlessly brought to life through old-school model shots, matte paintings and extensive set work. The world is intricately designed, with so much detail in every nook and cranny to absorb, and it feels lived-in to boot. It's not just impressive for its time - it's still impressive today. Indeed, the grand illusion throughout Blade Runner still stands up to contemporary scrutiny, allowing the movie to remain timeless. Admittedly, certain shots look a bit rough around the edges due to the technology of the era, but the use of practical effects arguably stand up better than obvious-looking computer-generated imagery. The meticulous sound design also further serves to bring vivid life to this retro-futuristic world.

Director of photography Jordan Cronenweth (who was actually suffering from ill health during the shoot) bathes Blade Runner in mystique and neon beauty, creating a masterful visual palette bolstered by exquisite lighting, doing justice to the incredible production design and ensuring that the film still looks impressive decades later. The crowning touch is the achingly beautiful, ethereal original synth score by Greek composer Vangelis. The soundtrack is iconic, further separating the movie from many if its sci-fi contemporaries, and giving it a distinct sound that perfectly complements the striking visual design.

Ford is at the top of his game here, bringing his trademark charm to the material, and carving out a distinct role that's noticeably different to his work in Star Wars. Ford was actually quite unhappy during the production, as he had issues with both Scott and his co-star Sean Young, but none of this comes across on screen - the thespian still submits a nuanced, engaging performance, and you can believe it when Deckard starts wrestling with his conscious as he falls for Rachael. Although much fuss has been made over the years about whether or not Deckard is a replicant, this aspect ultimately feels like an afterthought that was added on the fly, and it's doubtful this was even Scott's intention from the very outset. Nevertheless, it is a fascinating talking point, and the ambiguity (intentional or not) recontextualises the narrative at large. Luckily, Ford is surrounded by an able ensemble, with the likes of Edward James Olmos making a strong impression as another blade runner, and Walsh who's note-perfect as Deckard's no-nonsense supervisor. Young is effectively understated, while Hauer oozes menace and comes across as a genuine threat. This isn't exactly an actor's movie, but the ensemble cast all hit their intended marks, and there isn't a weak link among them.

As of 2017, five different cuts of Blade Runner exist. The studio executives did not approve of Scott's original vision in 1982, leading to a compromised theatrical cut with a "happy" ending, humdrum voiceover, and other alterations not condoned by the director. Some fans may prefer the theatrical cut, but the voiceover never works as Ford's delivery is lifeless (a direct result of the actor disagreeing with the narration in the first place) and it takes the audience for fools, over-explaining too much. Other editions of the film include the workprint, an international cut, and a 1992 director's cut which Scott was still not entirely happy with, since he was short on time and a team of editors just worked from his notes. The only version for which Scott held total artistic and editorial control over was the 2007 Final Cut, which stands as the definitive representation of the filmmaker's vision. Scott even chose to tidy up several visual effects shots, and filmed new footage with actress Joanna Cassidy to replace an obvious stunt-woman in a pivotal scene. Indeed, the Final Cut is arguably the best edition available, though fans and connoisseurs are welcome to disagree. Luckily, unlike the original Star Wars trilogy, all five cuts of the movie are freely available to view in high quality, allowing you to pick your preference.

It's not hard to find viewers who either feel lukewarm towards Blade Runner or actively dislike it, especially those who studied it in school, but it's impossible to deny the movie's impact on cinema and on popular culture at large. Visually enthralling and permeated with haunting lyricism, this is so much more than just another simple science fiction or action-adventure flick, and there are more layers to the movie to unravel with each new viewing. Considering the endless issues which legendarily plagued the production, and all the squabbling between Scott and the studio execs, it's a miracle that the movie turned out to be this great - and it's even more miraculous that we were granted Scott's final cut twenty-five years later. Blade Runner is a bona fide genre classic which will still be revered in another few decades. Once you see it, you will never forget it.