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.
All those moments will be lost in time, like tears.. in the rain...
The film is great on every level: the poignant screenplay about man s futile quest for immortality; Scott s tremendous direction; the incredible, futuristic sets designed by Lawrence G. Paull, Syd Mead and others; the phenomenal special effects.
It is, in fact, an amazingly sophisticated, sumptuously visionary treatise on the consequences of attaining god-hood.
As intricately detailed as anything a science-fiction film has yet envisioned.
The android villains are neither menacing nor sympathetic, when ideally they should have been both. This leaves Scott s picturesque violence looking dull and exploitative.
A stylistically dazzling film noir set in November 2019 in a brilliantly imagined Los Angeles marked by both technological wonders and horrendous squalor.
These days, it s almost impossible to find a gritty science fiction motion picture that doesn t owe at least a small debt to Blade Runner s visual style.
Mainly, the re-release is a good excuse to indulge once more in Scott s iconic and highly influential vision of a future Los Angeles choked by rain, neon and cheap pleasure palaces.
The opportunity to see one of the milestone visual achievements in a big hall with a giant screen is not to be missed. And even if you saw Blade Runner in a theater in 1982, this will be an entirely new experience.
Ridley Scott created a triumph of retro-futuristic design over narrative or character richness.