Scott’s definitive Blade Runner: The Final Cut (2007, 117 minutes) was released by Warner Bros. on October 5, 2007. This is the only version over which Scott had complete artistic and editorial control.
by Michael Dempsey In director Ridley Scott’s $30-million noir thriller, Blade Runner, set in Los Angeles 36 years from now, sophisticated new robots known as
In the decade that has elapsed since Blade Runner’s first commercial release, Ridley Scott’s 1982 science-fiction film has been retroactively hailed as one of the most powerful and influential examples of cinematic postmodernism.
The essay by David Desser discusses the film’s connections to the Bible, Milton’s Paradise Lost and Mary Shelley’s Frankenstein.
Unlike the vast majority of films in the science fiction genre, ‘Blade Runner’ refuses to neutralize the most abhorrent tendencies of our age and casts serious doubt on a host of the cliches about where we should locate their causes
by Harlan Kennedy Do Androids dream of electric sheep? Do Northumbrians dream of eclectic myths? Every so often the British cinema hatches a mold-busting filmmaker,
The view of the future offered by Ridley Scott’s muddled yet mesmerizing ‘Blade Runner’ is as intricately detailed as anything a science-fiction film has yet envisioned
Blade Runner (Ridley Scott, 1982) combines film noir and science fiction to tell a story that questions what it means to be human
Brian McFarlane reviews Ridley Scott’s sci-fi movie ‘Alien’. Published in ‘Cinema Papers’ magazine, December 1979 – January 1980 issue
Interview with Swiss surrealist H.R. Giger, designer of the monsters in Ridley Scott’s sci-fi movie ‘Alien’
The Making of “Alien”. Interview with director Ridley Scott. Published in ‘Starlog’ n. 26, September 1979
Vincent Canby reviews Ridley Scott Si-Fi movie ‘Alien’ (1979). Published in The New York Times, May 25, 1982
In this “Special Preview” Bob Martin interviews Dan O’Bannon, the first screenwriter of Alien.
Interview by Ana Maria Bahiana. In a town like LA, where everybody from your valet parker to your dentist seems to be writing a screenplay with dreams of wealth and glory on their minds, Callie Khouri is a strange, notable exception.
Uno dei più clamorosi film di fantascienza che si siano visti negli ultimi anni, una delle più sgomentevoli profezie sull’imminente medioevo, uno dei frutti più maturi del cinema spettacolare.
Blade Runner doesn’t engage you directly; it forces passivity on you. It sets you down in this lopsided maze of a city, with its post-human feeling, and keeps you persuaded that something bad is about to happen.
With unflinching honesty, the author of “Do Androids Dream of Electric Sheep?” discusses its cinematic adaptation and the shock of reading the original screenplay, which made him think that he had died and been condemned to eternal torture.
Analisi di Blade Runner a cura di Fernaldo Di Giammatteo, pubblicata nel volume Milestones