Tal G’s review published on Letterboxd:
A fantastically ambitious adaptation that goes above and beyond to realize a sprawling dystopian metropolis and a gripping sci-fi tale of humanity in a postmodern state of existence. A trend setter in terms of cyberpunk aesthetics in film and gaming.
Ridley Scott's adaptation of Phillip K. Dick's Do Androids Dream of Electric Sheep rules the waves. It's an absolute marvel to behold the bleak, futuristic megapolis brought to life in what looks like a gargantuan, overwhelming scale. It's a production and art direction triumph on every level.
The deviations from the source material are numerous and significant, but Scott managed to create a story that is its own thing with a very different, much more dramatic tone that lacks the occasional quirkiness, cynical satire and the robustness of the original story. Scott's Blade Runner is a very focused story that primarily follows the noir detective as he descends into the mystery of the androids. The book's central elements about humanity, memories and identity remain in focus and are given the central stage in the film's conflicts and emotional heights.
Good old Harrison Ford plays the very grumpy and unfriendly, sometimes borderline rapey, Deckard. He does so with a bluntness, pretty much no charisma and with a generally unlikeable quality to him. Rachel is played impeccably by the wonderfully mesmerizing Mary Young. And the legendary Rutger Hauer knocks it out of the park with his unforgettable, iconic Roy Batty.
The film's cinematography transports you into its world, mood and fleeting waltz with what makes one human and alive. Blade Runner's soundtrack by Vangelis is a cyber angel's touch that elevates an already dazzling film into something that should and is celebrated as canon.
Blade Runner is marvelous work of wonder with a whole lot to offer - whether in musical inspiration, in it's genre defining aesthetics, or its rich thematic center.