On one hand, there are parts of its vision of 2019 that feel jarringly old-fashioned. This is Blade Runner, the 1982 movie directed by Ridley Scott: (very loosely) based on Philip K Dick’s 1968 novel Do Androids Dream of Electric Sheep?, and telling the story of Rick Deckard, a cop who works for the LAPD, tracking down and ‘retiring’ replicants – genetically-engineered, almost-human artificial people whose presence on Earth is illegal, following a replicant revolt on one of Earth’s off-world colonies. The end of the gangster movie as we know it?Įxcept, of course, it isn’t the future, not any more. ![]() A booming voice cheerfully tells the unseen but presumably multitudinous denizens of this strange future world that a new life awaits them in the off-world colonies. We cut to another flying car, negotiating the narrow avenues of the city, framed against a digital hoarding, storeys-tall, featuring an Asian woman advertising snack foods. A vehicle flies into the scene, then out again, heading towards two monstrous pyramids.Īn increasingly anxious man undergoes a verbal test conducted by his supervisor at the Tyrell Corporation, housed in the vast ziggurats. ![]() Flames belch from gigantic industrial towers. The city stretches as far as the eye can see the lights in the packed-together buildings shine – unlike the stars which are invisible in the smog-filled night sky.
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