Blade Runner (The Final Cut): A retired replicant hunter (aka a Blade Runner) must return to track down four fugitive android impostors in 2019 Los Angeles. It’s unbelievable to think that this was released in 1982 as everything about it looks and feels like a ‘modern’ movie: it’s still breathtaking, brimming with scenes and imagery that are nothing short of pure spectacle. Almost every shot is striking; and the scale/intricacy of the sets & worldbuilding is unbelievable. Despite all of this, Ridley isn’t above some tremendously naff product placement: Coca Cola billboards, Budweiser signage, Atari holograms, and a final fight illuminated by a humongous neon TDK sign… classy! There’s also a questionable sex scene and dubious mis-use of midget actors – to give the film a little edge and distraction. If imitation truly is the sincerest form of flattery; you know that Blade Runner is a top-drawer sci-fi, as the future-metropolis aesthetics and theme of ‘what makes us human’ are echo through pretty much every subsequent Sci-Fi classic: Ghost in the Shell, The Fifth Element, Minority Report, The Matrix, Dark City, Total Recall, Brazil, Looper, Akira, Ex Machina… the list is endless. Of course, it doesn’t hurt that the starting point for the movie (Philip K. Dick’s “Do Androids Dear of Electric Sheep?” is a SF masterpiece). Overall, Blade Runner is a parodically boilerplate pulp/noir story; yet the world created & proto “cinema du look” style paired with the outstanding source material & sci-fi twists, propel this film into classic territory.