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PLEASE NOTE: Michael D's is currently in READ ONLY MODE. Anything submitted will simply not be written to the database.
Lots of stuff is still broken, but at least reviews can now be looked up and read.
Blade Runner (4K Blu-ray) (1982)

Blade Runner (4K Blu-ray) (1982)

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Released 20-Sep-2017
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Details At A Glance

General		Extras
Category	Science Fiction	Introduction-by Ridley Scott Audio Commentary-with Ridley Scott Audio Commentary-with Writers and Producers Audio Commentary-with Crew Theatrical Trailer
Rating
Year Of Production	1982
Running Time	117:31
RSDL / Flipper	Dual Layered Multi Disc Set (3)	Cast & Crew
Start Up	Menu	Cast & Crew
Region Coding	1,2,3,4,5,6	Directed By	Ridley Scott
Studio Distributor	Roadshow Home Entertainment	Starring	Harrison Ford Sean Young Rutger Hauer Daryl Hannah M. Emmett Walsh Brion James Joanna Cassidy Joe Turkel
Case	Standard Blu-ray	Starring
RPI	$24.95	Music	Vangelis

Video		Audio
Pan & Scan/Full Frame	None	English Dolby Atmos French Dolby Digital 5.1 German Dolby Digital 5.1 Italian Dolby Digital 5.1 Spanish Dolby Digital 5.1 Spanish Dolby Digital 2.0 Portuguese Dolby Digital 5.1 Russian Dolby Digital 5.1
Widescreen Aspect Ratio	2.40:1
16x9 Enhancement
Video Format	2160p
Original Aspect Ratio	2.40:1	Miscellaneous
Jacket Pictures	No	Miscellaneous
Subtitles	English French German for the Hearing Impaired Italian for the Hearing Impaired Spanish Dutch Cantonese Mandarin Mandarin Korean Portuguese Arabic Czech Audio Commentary Danish Finnish Hebrew Norwegian Polish Portuguese Russian Swedish Turkish	Smoking	Yes
		Annoying Product Placement	Yes
		Action In or After Credits	No

NOTE: The Profanity Filter is ON. Turn it off here.

Plot Synopsis

    Ridley Scott’s Blade Runner is for a very specific type of film-watcher, which is to say that it is definitely not for all tastes. Despite the presence of a few thrilling action beats, this adaptation of Philip K. Dick’s Do Androids Dream of Electric Sheep? is more concerned with audio-visual immersion, esoteric cerebral expression and thematic density. Even though it flopped at the box office upon its theatrical release in 1982, Blade Runner developed into one of the most influential sci-fi movies in history, and has amassed an enormous cult following. Its reputation speaks for itself, really. Scott’s vision for this universe is wholly unique, crafting a neo-noir detective story with a lot on its mind. Blade Runner outright rejects mainstream sensibilities, playing out more like an art-house film than a blockbuster, and radically diverging from the likes of Star Wars or Flash Gordon. As a result, this is very much a “love it or hate it” affair - in fact, it took this reviewer multiple viewings over several years to warm up to it, but the determination paid off; now it just keeps getting better and better.

    In a dystopic future, the Tyrell Corporation have developed synthetic human beings known as replicants to be used on off-world colonies for slave labour. Replicants can be dangerous, however, and after an attempted revolt, they are declared illegal on Earth. To combat the threat, special police squads known as Blade Runner Units were formed; specialised officers who are expressly assigned to “retire” (i.e. kill) replicants on sight. In the year 2019, four renegade replicants illegally travel to Earth hoping to blend into society and potentially extend their four-year lifespan. A retired LAPD Blade Runner, Rick Deckard (Harrison Ford) is called back to duty by his former supervisor, Bryant (M. Emmett Walsh), for the sole purpose of killing the four replicants in question: Roy (Rutger Hauer), Pris (Daryl Hannah), Leon (Brion James), and Zhora (Joanna Cassidy). However, the mission is complicated when Deckard meets Rachael (Sean Young), an experimental replicant working alongside Dr. Eldon Tyrell (Joe Turkel) with implanted memories who believes she is human. Deckard finds himself falling for Rachael, compelling him to question the mission, especially when Bryant orders him to kill her as well.

    With a script credited to Hampton Fancher and David Webb Peoples, Blade Runner may seem deceptively simple on the surface, but it’s imbued with philosophical underpinnings, existential questions about humanity, commentary on overpopulation and environmental degradation, as well as religious and animal motifs. For the most part, too, such material is built into the fabric of the narrative rather than relying on extensive dialogue to get its point across, and as a result it doesn’t feel as preachy or as pretentious as it might have been in lesser hands. Even though the movie does threaten to crush under the weight of its own self-importance during the late “tears in the rain” monologue, it’s nevertheless a powerful scene. There is violence, and the visuals are stunning to observe of course, but each element exists to serve the narrative, never coming across gratuitous or empty. Blade Runner is also a feature which demands your fullest attention, lest you get hopelessly lost.

    Scott exudes undeniable authority over every frame, never letting the movie out of his control, allowing the proceedings to play out at a deliberate pace which may alienate viewers without the patience required to see it through. However, this is not to say that haters are uncultured swine - if you dislike Blade Runner, the movie is simply not for you, and that’s a reasonable reaction. To be fair, the pacing can be sluggish and slow-moving, and Scott keeps you at arm’s length as the movie comes up short in terms of dramatic resonance. Indeed, the characters are superficial, with Deckard particularly lacking in significant development. Excised scenes and voiceovers do provide more insight into the blade runner’s background, but it’s evident that Scott ultimately chose to eschew character development whilst finding the movie in post-production, and as a result your mileage will vary. In addition, the storyline is admittedly threadbare; though Deckard’s assignment is complicated due to a variety of factors, the trajectory itself is a tad meandering, in need of a bit more drive. I do not doubt that these intrinsic flaws are all part of Scott’s vision, as Blade Runner is more about the pure experience than character exploration or dense plotting, but it nevertheless lessens the movie to a certain extent in the eyes of this reviewer.

    Los Angeles is depicted here as a dark, dense metropolis filled with advertisements and bathed in perpetual rainfall, painting a scarily believable image of the future. Even though there is paid product placement, the advertisements function as a form of societal satire and reflection - after all, advertisement oversaturation already occurs. From top to bottom, the visual design of Blade Runner is awe-inspiring; Scott and his team of collaborators worked to create their own unique futuristic vision bursting with aesthetic beauty, flawlessly brought to life through old-school model shots, matte paintings and extensive set work. The world is intricately designed, with so much detail in every nook and cranny to absorb, and it feels lived-in to boot. It’s not just impressive for its time - it’s still impressive today. Indeed, the grand illusion throughout Blade Runner still stands up to contemporary scrutiny, allowing the movie to remain timeless. Admittedly, certain shots look a bit rough around the edges due to the technology of the era, but the use of practical effects arguably stand up better than obvious-looking computer-generated imagery. The meticulous sound design also further serves to bring vivid life to this retro-futuristic world.

    Director of photography Jordan Cronenweth (who was actually suffering from ill health during the shoot) bathes Blade Runner in mystique and neon beauty, creating a masterful visual palette bolstered by exquisite lighting, doing justice to the incredible production design and ensuring that the film still looks impressive decades later. The crowning touch is the achingly beautiful, ethereal original synth score by Greek composer Vangelis. The soundtrack is iconic, further separating the movie from many if its sci-fi contemporaries, and giving it a distinct sound that perfectly complements the striking visual design.

    Ford is at the top of his game here, bringing his trademark charm to the material, and carving out a distinct role that’s noticeably different to his work in Star Wars. Ford was actually quite unhappy during the production, as he had issues with both Scott and his co-star Sean Young, but none of this comes across on screen - the thespian still submits a nuanced, engaging performance, and you can believe it when Deckard starts wrestling with his conscious as he falls for Rachael. Although much fuss has been made over the years about whether or not Deckard is a replicant, this aspect ultimately feels like an afterthought that was added on the fly, and it’s doubtful this was even Scott’s intention from the very outset. Nevertheless, it is a fascinating talking point, and the ambiguity (intentional or not) recontextualises the narrative at large. Luckily, Ford is surrounded by an able ensemble, with the likes of Edward James Olmos making a strong impression as another blade runner, and Walsh who’s note-perfect as Deckard’s no-nonsense supervisor. Young is effectively understated, while Hauer oozes menace and comes across as a genuine threat. This isn’t exactly an actor’s movie, but the ensemble cast all hit their intended marks, and there isn’t a weak link among them.

    As of 2017, five different cuts of Blade Runner exist. The studio executives did not approve of Scott’s original vision in 1982, leading to a compromised theatrical cut with a “happy” ending, humdrum voiceover, and other alterations not condoned by the director. Some fans may prefer the theatrical cut, but the voiceover never works as Ford’s delivery is lifeless (a direct result of the actor disagreeing with the narration in the first place) and it takes the audience for fools, over-explaining too much. Other editions of the film include the workprint, an international cut, and a 1992 director’s cut which Scott was still not entirely happy with, since he was short on time and a team of editors just worked from his notes. The only version for which Scott held total artistic and editorial control over was the 2007 Final Cut, which stands as the definitive representation of the filmmaker’s vision. Scott even chose to tidy up several visual effects shots, and filmed new footage with actress Joanna Cassidy to replace an obvious stunt-woman in a pivotal scene. Indeed, the Final Cut is arguably the best edition available, though fans and connoisseurs are welcome to disagree. Luckily, unlike the original Star Wars trilogy, all five cuts of the movie are freely available in high quality, allowing you to pick your preference.

    It’s not hard to find viewers who either feel lukewarm towards Blade Runner or actively dislike it, especially those who studied it in school, but it’s impossible to deny the movie’s impact on cinema and on popular culture at large. Visually enthralling and permeated with haunting lyricism, this is so much more than just another simple science fiction or action-adventure flick, and there are more layers to the movie to unravel with each new viewing. Considering the endless issues which legendarily plagued the production, and all the squabbling between Scott and the studio execs, it’s a miracle that the movie turned out to be this great - and it’s even more miraculous that we were granted Scott’s final cut twenty-five years later. Blade Runner is a bona fide genre classic which will still be revered in another few decades. Once you see it, you will never forget it.

    Blade Runner arrives on 4K Ultra HD Blu-ray courtesy of Roadshow. Only the Final Cut is included in 4K; no other archival versions are packaged in this set. So keep a hold of your previous Blu-ray editions if the other cuts mean something to you.

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Transfer Quality

Video

    When the Final Cut of Blade Runner was assembled in 2007, it became one of the first motion pictures in history to be digitally completed with a 4K digital intermediate. Therefore, this Ultra HD Blu-ray was minted direct from the 4K DI of the Final Cut; no further remastering was necessary, and Warner Bros. did not need to upscale any material. It really is ideal fodder for the budding UHD format, and for the most part this HEVC/H.265-encoded 2160p presentation looks genuinely remarkable, making you feel as if you're watching Blade Runner for the first time all over again. It's a night-and-day upgrade over the ten-year-old standard Blu-ray, which was only encoded in the antiquated VC-1 video codec and suffered from severe compression with a pathetic bitrate. It's worth pointing out that even though Roadshow is distributing this set, the 4K disc itself was authored entirely by Warner Bros. overseas.

    While the UHD presentation is borderline great in a number of areas, it's still not perfect. Compression artefacts are noticeable throughout, with brief moments of odd macroblocking and traces of video noise. Yes, Blade Runner is a grainy movie since it was shot on film stock back in the 1980s, but it does look as if video noise is mixed with the grain, as there are odd noise patterns throughout. Online discussion boards have pointed out certain other compression artefacts, and they are present. However, it's unclear whether or not this is due to botched compression for the disc, or perhaps such shortcomings are baked into the digital intermediate. I cannot say for certain. Also, the transfer does show its age at times, looking like an "older" scan rather than a more recent restoration. But unless Warner Bros. was to re-scan each film element and re-assemble the Final Cut, there isn't much to be done to improve the presentation, assuming the compression artefacts are source-related. And hell, maybe a newer scan wouldn't yield any noticeable improvements - maybe the limitations trace back to the film stock.

    But blimey, the upgrade from a detail and sharpness perspective is revelatory here, thanks to the decision to scan the original film elements at 4K. Model shots - which were shot on 65mm - look simply extraorindary, bringing out so many more intricacies that have never been visible before, and A-to-B comparisons with the standard Blu-ray made me appreciate the stunning upgrade all the more. Close-ups of faces are intricately textured, bringing out every possible wrinkle and pore. The production design thankfully stands up to the added resolution, and the level of texture never falters - even in wide shots and full shots, the transfer is razor-sharp. Object delineation consistently impresses, no matter the lighting conditions - you can even discern every drop of rain on Deckard's window. Grain is tightly-refined throughout as well, and even though video noise is palpable, at least it's never blocky. Some shots admittedly look a touch rough and unrefined, which is probably source-related. It's fortunate that Warner Bros. eschewed heavy processing; there's no palpable digital noise reduction or digital sharpening - Blade Runner looks organic and natural.

    The High Dynamic Range enhancements are excellent, representing another insane upgrade over the standard Blu-ray. Since the BD was created in the early days of its format, colours now look substandard and there's even traces of crush, but the HDR fixes all of that for this UHD presentation. There is so much more depth to the image and colours leap off the screen, bolstering the visuals all the more. Blacks look truer and inkier than ever before, and brightness is spot-on, bringing out as much detail as possible. As ever, videophiles are destined to complain that the disc's HDR is encoded in HDR10 as opposed to Dolby Vision, especially since Blade Runner is available to stream in Dolby Vision. But the HDR10 presentation is so solid that it's difficult to imagine the DV version offering much in the way of noticeable improvement.

    In spite of the presentation's shortcomings, this 4K disc features the best presentation of Blade Runner we have ever seen on home video by a considerable margin. It easily trumps its standard BD counterpart, and it will definitely be the disc that I grab whenever I wish to give the movie a re-watch. It's a shame that only the Final Cut is provided in 4K, especially given that at least some of the archival cuts must have already been scanned at 4K during the 2007 restoration (plus, all three cuts of Close Encounters of the Third Kind are available in UHD), but I'll take this. Don't be surprised if Warner Bros. revisits this title in a few years for a more definitive edition, however.

    There are a lot of subtitle options. I had no issues reading the English track.

*Video Ratings Summary*
Sharpness
Shadow Detail
Colour
Grain/Pixelization
Film-To-Video Artefacts
Film Artefacts
Overall

Audio

    Blade Runner was remixed for its Blu-ray release in 2007, and now the technicians over at Warner Bros. have cooked up a brand new Dolby Atmos mix for the movie's 4K Ultra HD debut that defaults to a 7.1 track for the non-Atmos crowd. As ever, there is a fair bit of online outcry about the new Atmos mix from purists who have previously watched the movie dozens of times over the years and therefore know the audio back to front. Indeed, there are reports (from those more qualified than myself) of revisionist sound effects and different prioritisation of various elements that won't sit well with everybody. I also noticed some hissing for a few lines of dialogue, though that likely traces back to the original recording.

    If you can accept the revisionist mixing (I'm personally not attached enough to notice), Blade Runner sounds very good in Dolby Atmos. In wide shots of the city, ambience is mixed with Vangelis's amazing score, filling the surround channels to create an immersive soundscape. The music consistently comes through with precision and clarity as to be expected from a lossless mix, never sounding muffled. Surround activity is excellent - during scenes set in the rain, you could easily be tricked into believing a rainstorm is actually going on. The sounds of Deckard's blaster being discharged are effectively loud, with subwoofer activity making every gunshot count. And miraculously, dialogue remains well-prioritised, ensuring that it's easy to hear and comprehend.

    I am deducting a star from the overall rating since I do care about preserving original sound effects and prioritisation, but rest assured it still sounds very good, and Atmos fanatics with the right set-up will more than likely dig it. Also included on the disc is a variety of additional audio options; there are lossy Dolby Digital mixes in French, German, Italian, Spanish (Castellano), Spanish (Latino), Portugese, Polish and Russian. How disappointing that Warner Bros. chose to include so many additional audio options, but couldn't include older English mixes of the movie to please the purists in the audience.

*Audio Ratings Summary*
Dialogue
Audio Sync
Clicks/Pops/Dropouts
Surround Channel Use
Subwoofer
Overall

Extras

The 4K disc itself only contains a minor selection of special features. The set also comes packaged with the Final Cut on standard Blu-ray with the same audio commentaries, as well as the mammoth Dangerous Days documentary on a separate DVD.

Introduction by Ridley Scott (SD; 00:35)

A brief segment in which Scott talks about the Final Cut.

Director Commentary by Ridley Scott

The first audio commentary features Scott flying solo, who has a lot to say about his revered movie. He starts chatting from the very beginning, touching upon various creative decisions (including the story behind the infamous voiceover), as well as the underlying themes he strived to convey. Scott also reveals production anecdotes, his views on several characters, the visual style, and the efforts of many of his collaborators. He even makes a quick comparison to his 2007 movie American Gangster. Of course, too, the question about whether or not Deckard is a replicant is mentioned, and Scott even talks about how this would affect a sequel - which looks quaint now, with the release of 2017's Blade Runner 2049. This is a very good audio commentary, and anybody who's even remotely interested in the production really ought to give it a listen.

Writer/Producer Commentary

This second audio commentary features producers Michael Deeley and Katherine Haber, as well as writers Hampton Fancher and David Peoples. It's apparent that the pairs were recorded separately, and they each have different perspectives to share. (Worth noting that nobody introduces themselves, which is particularly bothersome for Fancher and Peoples, as I couldn't figure out who was who.) The producers mainly talk about the production, logically enough - they touch upon the special effects, writing, and actors (including how Ford got cast, and a hilarious anecdote about Scott's first meeting with Hauer). Deeley also touches upon adding the voiceover. The writers, meanwhile, talk about the evolution of the screenplay, and basically banter about who wrote what. Switching between the two pairs keeps the track engaging, though there is still some dead air. Nevertheless, this is another valuable grab-bag of information about the making of Blade Runner.

Crew Commentary

The final commentary on the disc is the most packed yet, featuring Syd Mead, Lawrence G. Paull, David L. Snyder, Douglas Trumball, Richard Yuricich and David Dryer. Thankfully, everybody introduces himself at the very start of the track, though you can be forgiven for still losing track of who's who. Anybody who's interested in special effects and film productions as a whole will find this track to be extraordinary, as it's bursting with information. Some of the crew start by talking about how they got involved, before moving onto a scene-specific analysis of the production design, sets, miniatures, special effects, and so on. This is a great perspective for the third and last commentary, and it's worth a listen if you can be bothered enough.

Blade Runner: The Final Cut - 4K Remastered Trailer (HD; 2:31)

A theatrical trailer for the movie. A nice curiosity.

R4 vs R1

NOTE: To view non-R4 releases, your equipment needs to be multi-zone compatible and usually also NTSC compatible.

The 4K disc itself appears to be identical worldwide, but the UK special edition comes with additional discs featuring the other cuts of the movie on standard Blu-ray, and more special features. If you already own previous editions with all the previously-released supplemental material, you can buy the local with ease. If the 4K edition will be the first time buying Blade Runner and you care about extras, import the UK release.

Summary

Love it or hate it, there's no denying that Blade Runner has made a huge impact on cinema and popular culture. I used to actively dislike the movie, but it has won me over and now I almost love it. It's definitely worth checking out at least once.

With the release of its sequel, it seemed a logical time to debut Blade Runner on 4K UHD Blu-ray, and it's good news for the most part. The movie has never looked better, and I have little complaints about the audio. Throw in a worthwhile selection of special features, and this set comes recommended!

Ratings (out of 5)

Video
Audio
Extras
Plot
Overall

Review Equipment
DVD	LG UP970 4K UHD HDR Blu-ray Player, using HDMI output
Display	LG OLED65E6T. This display device is 16x9 capable. This display device has a maximum native resolution of 2160p.
Audio Decoder	Built in to amplifier/receiver. This audio decoder/receiver has not been calibrated.
Amplification	Samsung Series 7 HT-J7750W
Speakers	Samsung Tall Boy speakers, 7.1 set-up

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