Kurt Halfyard’s review:
So much time and energy has been spent talking about Blade Runner in the ensuing three decades that one might start to doubt just how much audiences rejected the film upon it's 1982 release. Offering new insights into Ridley Scott's second science fiction mash-up masterpiece (here Sci-Fi and L.A. Noir) which followed immediately after Alien, is rather difficult. Suffice it to say that production design and mood play a significant part in the films lasting appeal. The film uses some daring, at times rather obtuse imagery to generate that mood. Take the opening scenes of 2019 Los Angeles as an endless urban-industrial wasteland, fire belching into the heavens, but then cross-cut with a human eye (reflecting the city) filling the frame. Vangelis' score manages to be simultaneously imbued with melancholy and awe. With that kind of classic cinematic opening (rivaling both 2001: A Space Odyssey as well as Star Wars) it gives Scott license, which he eagerly accepts, let the image guide the story rather than narrative details (of which there are plenty) or literal sense.
Further paragraphs coming up on Blade Runner as part of our Ridley Scott career retrospective on Rowthree.com Monday June 4.