Blade Runner describes a future in which, through genetics, artificial humans are manufactured and called "replicants"; employees in dangerous jobs and slaves in the outer colonies of the Earth. Made by Tyrell Corporation under the motto "more humans than humans" -especially the "Nexus-6" models- not only resembles humans, they are far superior physically.
The replicants were declared illegal on planet Earth after a bloody mutiny occurred on the planet Mars, where they worked as slaves. A special police force, Blade Runners, is in charge of identifying, tracking and killing - or "withdrawing", in terms of the police itself - the fugitive replicants found on Earth. With a group of replicants loose in Los Angeles, Rick Deckard, the best agent that has existed in regard to the recovery and removal of the replicas, is removed from his semi-retirement to use some of "the old magic blade runner".
Ridley Scott fantastic dark cyberpunk style and futuristic design is so well made that accomplished to create a visual vocabulary: neon lights, abandonment, decay, loneliness, obscurity, indifference and alienation are the core of the aesthetics of the film, which will eventually become and serve as a pattern for successive cinematographic works.
The script David Webb Peoples adapted from 'Do Androids Dream of Electric Sheep?' takes the viewer into a dwelling and philosophical controversy, as it creates doubt and empathy to the so called replicants, primarily as seen in many shots of Rick Deckard hesitating about the true nature of his task.
Harrison Ford and Rutger Hauer haunts the attention into the essence of the story. Their characterization throughout infiltrates the different conceptions of life. A saddened soul searching for the meaning of his punished existence and the other, ruminating a task sinking him into a moral void brimming with guilt.
At the end, the movie leaves you wondering about the implications the creation of highly intelligent beings (IA) must have and, if it's worth treating them as machines or they have become so human that the difference is non existent.
"Time... to die".
10/10.
The replicants were declared illegal on planet Earth after a bloody mutiny occurred on the planet Mars, where they worked as slaves. A special police force, Blade Runners, is in charge of identifying, tracking and killing - or "withdrawing", in terms of the police itself - the fugitive replicants found on Earth. With a group of replicants loose in Los Angeles, Rick Deckard, the best agent that has existed in regard to the recovery and removal of the replicas, is removed from his semi-retirement to use some of "the old magic blade runner".
Ridley Scott fantastic dark cyberpunk style and futuristic design is so well made that accomplished to create a visual vocabulary: neon lights, abandonment, decay, loneliness, obscurity, indifference and alienation are the core of the aesthetics of the film, which will eventually become and serve as a pattern for successive cinematographic works.
The script David Webb Peoples adapted from 'Do Androids Dream of Electric Sheep?' takes the viewer into a dwelling and philosophical controversy, as it creates doubt and empathy to the so called replicants, primarily as seen in many shots of Rick Deckard hesitating about the true nature of his task.
Harrison Ford and Rutger Hauer haunts the attention into the essence of the story. Their characterization throughout infiltrates the different conceptions of life. A saddened soul searching for the meaning of his punished existence and the other, ruminating a task sinking him into a moral void brimming with guilt.
At the end, the movie leaves you wondering about the implications the creation of highly intelligent beings (IA) must have and, if it's worth treating them as machines or they have become so human that the difference is non existent.
"Time... to die".
10/10.