Smashology’s review published on Letterboxd:
THE FUTURE HAS REACHED US
Before starting, I must make something clear: the version I'm analyzing is the Director's Cut (and, with it, the Final Cut). This is necessary because each person's opinion depends on which version of the movie you watch and how you read into it. It's at your discretion.
Its virtues lie in its philosophical exhibition and scattered dialogues that, although may seem unnecessary in a story that can leave them out, are appreciated from different perspectives and intensities since, with the revolutionary production design, the detailed special effects and Vangelis' music, everything pursues the same goal: the allusion and dream of life by beings who're just beginning to understand it, all within an extremely depressive environment in which it's impossible to distinguish the artificial from the natural.
While some aspects of its vision of the future are outdated and it's extremely slow, they don't prevent the story development. The twist in the director's cut enriches the background, however what captivated and impacted me since the very first time I watched it was the ending and those surreal dialogues from the replicant that summarized, redeemed and as an inheritance, gave his life to his hunter.
If androids can dream of electric sheep, why not forgive? Why not look for more life? Why not cry using the rain as their tears? Natural death is the most transcendental, it's the conception and scope of peace and quietness, of atonement, of eternity. It refers to sadness, to the end of life as we know it and the memories we had for a long or short time, that's why Roy's monologue is impactful: it transcends despite his inconsequential life, loses his memories but makes sure Deckard keeps them in his memory, through the mercy his life was treated with: by a being that wanted nothing more than to live life itself quietly. Without a doubt, it has won its position as a film classic.