"Blade Runner"

Paper Summary:

This paper explains that the entire film "Blade Runner" is nothing more than a depiction of violence, for violence's sake and fails terribly in presenting any redeeming social value despite the reputation of the cast and the novel upon which the screen-play is based and the obvious investment in the production. The author points out that Harrison Ford brings to this work his usual contrived intensity by way of camera placements that emphasize his so called expressive facial expressions and eyes, which are used to over-emphasize, even in the chase and the love scenes, the ridiculously super human characteristics supposedly possessed by Ford's character. The paper contends that the lighting is a nightmare, taking away from the players much of their artistic freedoms to enhance their scenes; however, the worst part of the lighting techniques employed were the constantly flashing white strobe lights penetrating every aspect of the film.

From the Paper:

"The true give-away of the bomb like nature of this or any other film in the genre is the long and convoluted prologue preceding the beginning of the story. When one can see this, they should run, not walk back to the box office and demand an instant refund. If the story and the action in this genre cannot carry the production then no amount of explanation will help. The Blade Runner, an agent of some sorts, played by Harrison Ford, is licensed to kill these interlopers on sight. Rather than calling them murders for hire, the killings are labeled "Retirements" of the clones. Reluctant at first, to take on the chore for the local police, Ford's character becomes intrigued with trying to figure out if the female lead of the movie is actually human or just another clone."

More papers on "Blade Runner":

• Film Review # 125336 : "Blade Runner" and Societal Constraints"
• Film Review # 125048 : "Blade Runner"
• Film Review # 122371 : "Postmodern Themes in "Blade Runner"
• Film Review # 45998 : "Blade Runner"

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