- Love how instantly the first 3 frames of the opening credits set a tone. It’s like, “Bam. We mean business.”
- I’m not sure how well watching this type of movie will go, considering the ’30s rampage I’ve been on lately – but I’ll give it a shot.
- Oh, geez. “NOVEMBER 2019” is 3 years from now. Oh, geez.
- Problem #1 with jumping from all those ’30s movies to this – Harrison Ford talks so goddamn flatly & inelegantly, compared to the ’30s guys. I know, I know – it’s the role, it’s the times, blah blah blah. Yeah, but still. Flat & inelegant. Dislike. (Edit: I have learned that for the Director’s Cut, the godawful Ford voiceover was removed. Hooray!)
- For the record, because I think I need reminding of this sometimes – I don’t hate every Harrison Ford movie I’ve seen. I really liked WITNESS (1985). I also really liked WORKING GIRL (1988)…although I feel like I may have enjoyed it for mostly non-Harrison Ford reasons. But, you know, point is – I don’t automatically hate the guy.
- The cinematography, set design, & special effects hold up surprisingly well. There are some beautifully composed shots in this.
- We just met Pris (Daryl Hannah). Don’t trust her, J.F.! Don’t ever trust people you find napping in your trash pile. Don’t you know anything?!
- Oh, sweet Jesus. J.F. Sebastian (William Sanderson)’s homemade toy friends are really, really fucking creepy. Just had to pause the movie to steel myself against them.
- It’s so cute how – despite all the new technology and cool looking crazy things Ridley Scott dreamt up – he still thought there would be pay phones in 2019. That’s pretty darn adorable.
- That photograph Deckard (Ford) analyzes to find the Snake Girl? It’s lit like a Vermeer. That’s all I keep thinking.
- WTF is this ‘Investigate Snake Girl’ scene? It’s like Humphrey Bogart’s rare-book-collecting imposter in THE BIG SLEEP (1946)…except way more terrible and perverse and way more terrible. Gross.
- In conclusion, Snake Girl (aka Zhora, played by Joanna Cassidy) is now running down a street wearing bra armor and a plastic bag. (???)
- Oh, sure. Let’s gratuitous-violence the barely clothed Snake Girl. Note how in the beginning interrogation scene between two guys – when Leon shot that one guy – it was quick and barely shown. There was just a sudden blast, and then the camera cut away. Not with Snake Girl, though. She’s killed like, 4 ways at a time, from different angles, in slow motion. I mean – I know she’s a villain and all – but that sucks for women.
- Here’s something positive, though! The sound editors & mixers on this film did an amazing job. Like…for serious.
- Ugh. The Deckard/Rachael thing was potentially a sweet, gentle one – until she tried to leave his apartment & he wouldn’t let her & slammed her against a wall. Sweetness over. Respect for women over. Sad times.
- It seems to me that the easiest way to tell whether someone is a replicant or not is by the fact that all of the replicants have pupils that glow red-orange. I mean, duh. Wake up, friends – it’s not hard.
- Roy (Rutger Hauer): “There’s only two of us now.”
Pris: “And we’re stupid & we’ll die.”
Girl, get your shit together. Have some self-confidence.
- This might be the understatement of the century, but – J.F. Sebastian is a bit of a loon.
- Are you fucking serious? The best way for Daryl Hannah to try to murder Deckard is by straddling his head?
- Also, second slow-motion murder of a scantily clad woman. Excellent, Ridley Scott. Really excellent. I’m a huge fan of your work now. (Just so everyone knows, I am currently shaking my head in disgust.)
- This shit just got stupid. Roy’s alternatively howling like a wolf & warbling like an opera singer. Lord help us.
- I…CANNOT believe how stupid this has gotten. The shot on top of the roof toward the end, where it’s like: ‘Here’s Roy, and he’s inexplicably holding a white dove, while looking insane, possibly wearing jorts, and being rained on’? Yeah, Ridley Scott, I’m done with this movie.
- Well, this was…an event. Excuse me while I make a sprint back to the ‘3os.