Blade Runner 1982 123movies

Watch: Blade Runner 1982 123movies, Full Movie Online – In the early twenty-first century, the Tyrell Corporation, during what was called the Nexus phase, developed robots, called “replicants”, that were supposed to aid society, the replicants which looked and acted like humans. When the superhuman generation Nexus 6 replicants, used for dangerous off-Earth endeavors, began a mutiny on an off-Earth colony, replicants became illegal on Earth. Police units, called “blade runners”, have the job of destroying – or in their parlance “retiring” – any replicant that makes its way back to or created on Earth, with anyone convicted of aiding or assisting a replicant being sentenced to death. It’s now November, 2019 in Los Angeles, California. Rick Deckard, a former blade runner, is called out of retirement when four known replicants, most combat models, have made their way back to Earth, with their leader being Roy Batty. One, Leon Kowalski, tried to infiltrate his way into the Tyrell Corporation as an employee, but has since been able to escape. Beyond following Leon’s trail in hopes of finding and retiring them all, Deckard believes part of what will help him is figuring out what the replicants wanted with the Tyrell Corporation in trying to infiltrate it. The answer may lie with Tyrell’s fail-safe backup mechanism. Beyond tracking the four, Deckard faces a possible dilemma in encountering a fifth replicant: Rachael, who works as Tyrell’s assistant. The issue is that Dr. Elden Tyrell is experimenting with her, to provide her with fake memories so as to be able to better control her. With those memories, Rachael has no idea that she is not human. The problem is not only Rachael’s assistance to Deckard, but that he is beginning to develop feelings for her..
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.
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Ratings:

	8.1/10 Votes: 765,432
	89% | RottenTomatoes
	84/100 | MetaCritic
	N/A Votes: 11933 Popularity: 51.099 | TMDB

Reviews:

**Planet Noir**

I declare _Blade Runner_ the best sci-fi movie of all time. Arguments? No? Okay. So long. Please upvote the guest book on your way out.

WAIT! There’s more. At the risk of whistling conspiracies and setting off inappropriate vibrations in your slacks, you see, this Ridley K. Dick concoction is going on right now. While we’re all transfixed by the endlessly goofy droppings from the web, forever staring down and swiping things on our smarty-pants phones, retweeting selfies of infinitely mirrored selfies; proliferating at light speed, every aspect of humanity is being replicated, perfected, mechanized, optimized, upgraded, fortified, robofied, Googlized, quantumized, DNA’d and NSA’d and will soon converge to fall upon and supplant us, and Harrison Ford, despite looking trim for his years, will be too old to stop it! And the irony to end all ironies is that we, as the irresponsibly arrogant, over-infested and narcissistic caretakers and consumers, and the colossal defecators of this broken-down, flea-bag of a planet, are entirely fundamentally responsible. No, the irony of all ironies is that a world exclusively dominated by self-correcting technocratic cyborgs with zettabytes of artificial intelligence will be a vast improvement. The androids are saving the planet! AHHH, run for your life! Blade Runner is both an expired cautionary tale and emerging utopian fantasy.

Oh, you knew this already? Very well. Carry on. Enjoy your self-driving cars and virtual nature tours.

This time, it is Ridley Scott’s turn to offer us his prognostication of a future wherein corporate America has, ostensibly benignly, introduced the ultimate in labour saving devices – androids called “replicants” – which have a look and feel of people about them. These “Nexus” creations can turn their hands to just about anything, but when the latest off-world models rebel, all of their cousins become outlawed and it falls to the “Blade Runners” to track them down and destroy them. “Deckard” (Harrison Ford) is one such operator who is called back out of his retirement to identify four of these highly adaptable and intelligent robots and this perilous task takes him to the heart of their manufacturer run by the fiendishly clever but unscrupulous “Tyrell” (Joe Turkel), and into a web of duplicity surrounding their controlling protocols and maybe even a fifth, almost impossible to recognise “replicant”, whom – unlike it’s contemporaries – has no idea that it isn’t human. Ford is on cracking form here, as is Rutger Hauer – the android leader “Batty” and the dark, frequently rainy imagery contributes wonderfully to this seedily presented story of greed and manipulation set amongst a grittily dank and hostile environment that offers little, visually anyway, by way of hope or relief. It has a film-noir look and feel to it, and Scott keeps it moving well, keeps the dialogue sparse – though impactful, and the whole thing develops cinematographically some of the pretty profound questions brought up in the original Philip Dick novel about just what constitutes humanity. Just shy of two hours – it flies by, especially on a big screen where the visuals and audio still work wonders.

All those moments will be lost in time, like tears in rain…
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.

A Drenched & Decrepit Dystopia…
If your curse is accelerated decrepitude, longevity is something that’s clearly not accrued, you’ll be treated like a slave, when equality is all you crave, in the catastrophic climate you’ve been skewed.

If you try to break the rules and integrate, the only recourse left to them is based on hate, where you’re hunted like a dog, through the streets of rain and smog, unavoidably it’s time to abdicate.

Oozing metaphors from almost every pore, the dreams of unicorns lay behind several locked doors.

Other Information:

Original Language en
Runtime 1 hr 57 min (117 min), 1 hr 50 min (110 min) (Workprint Version) (USA)
Budget 28000000
Revenue 41722424
Status Released
Rated R
Genre Action, Drama, Sci-Fi
Director Ridley Scott
Writer Hampton Fancher, David Webb Peoples, Philip K. Dick
Actors Harrison Ford, Rutger Hauer, Sean Young
Country United States
Awards Nominated for 2 Oscars. 13 wins & 19 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix 70 mm 6-Track (70 mm prints), Dolby Stereo (35 mm prints), 12-Track Digital Sound (IMAX 12 .0 Surround), Dolby Atmos
Aspect Ratio 1.33 : 1 (VHS release), 2.20 : 1 (70 mm prints), 2.39 : 1
Camera Mitchell FC 65 Camera, Super Panavision 70 Lenses (special effects), Panavision Panaflex Gold, Panavision C-Series and Super High Speed Lenses
Laboratory Technicolor, Hollywood (CA), USA (color)
Film Length 2,000 m (Maldives), 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), 70 mm (1080p), 35 mm (Eastman 100T 5247)
Cinematographic Process Digital Intermediate (4K) (master format) (2007 “Final Cut” release) (2017 remaster), Kinescope (2160p), Super Panavision 70 (special effects), Panavision (anamorphic)
Printed Film Format 35 mm, D-Cinema (blow-up), 70 mm (blow-up), D-Cinema (2K DCP) (2007 “Final Cut” release)