There will be a new face in Bon Temps when True Blood returns next summer. Close Ad. Live TV. New This Month. More TV Picks. The Final Cut sets out to captivate the audience, not spoon-feed them. Undermining your opponent by campaigning that you have the easy job is an interesting tactic, but I feel you never got off the runway here.
Could this be a long con? Your own version of a slow movie, so to speak? A round of applause for Bryan , who appears to have turned self-loathing into an argument strategy. A strong start for Bryan, but can he keep it up? Bryan: Thanks for your intervention there, Megan. What the hell, T. How do you mic-drop an online discussion with no mics? Creighton, I enjoy your attempt to frame defending the Theatrical Cut — which is about as beloved as the ending of Lost — as the easier job, somehow.
In any case, in terms of mood and feel, the Theatrical Cut of Blade Runner changed the trajectory of cinema. Up until that point, we were on a run where robots and science fiction vistas meant raucous, operatic adventures.
Ridley Scott did so many things right, and so differently for the era, Blade Runner is worthy of all the praise it received in However, the Theatrical Cut, feels like a film that would have been ripe for a remake in the post- Matrix world of the early s.
In all of these cases, the original films are full of great characters, great world-building, and great structure, but they leave the audience wanting just a little more, because they looked stylistically dated by The voiceover and the theatrical ending date Blade Runner in a way that would have made it a perfect candidate for a remake Bryan: Wait a second.
I thought we were arguing for a particular movie, not against our fear of Zack Snyder. Which, of course, is the exact reason we now have Blade Runner But I remain a die-hard fan of his older films, like Legend or the original Alien. That gives me some modicum of faith in his preferred version. This threat will haunt my sepia-toned, slow-motion-enabled, alternate-universe nightmares for years to come.
Creighton makes a comeback, but this next round will determine our winner. A surreal dream sequence adds layers of depth and meaning, completely altering the interpretive heft of a final scene, while continuity errors are scrubbed away with the same polish keeping the visuals spick-and-span.
Come for the quality of the image transfer, stay for the quality of the idea transfer. The only reason to visit one of the other cuts is, as IndieWire notes , a killer line from Rutger Hauer giving a now-legendary performance as the replicant Roy Batty in the theatrical version that is sadly declawed in The Final Cut.
Sign up for THR news straight to your inbox every day. October 5, am. Logo text. Related Stories. Read More About: Blade Runner It contains the same voice-over narration by Harrison Ford and the same "happy ending" that was forced into the US theatrical version but contains graphic scenes that in some ways makes the storyline more compelling with more at stake.
The scenes that producers thought were too shocking for US audiences made it into "The Final Cut" version, the most gruesome of them being where Roy Batty gives himself stigmata. The workprint version of the film was shown prior to the film's theatrical release at special showings in Denver and Dallas in and was released as the then only "director's cut" of the film in without Ridley Scott's permission.
What audiences had been confused about in they seemed to be appreciative in when the film was shown again, inspiring studios to approve the new release of the film.
There isn't a "unicorn dream sequence" like there is in the Ridley Scott approved Director's Cut, Deckard provides his own narration watching Batty die, and Deckard and Rachael don't drive off into the sunset. This release of the film is Ridley Scott approved, though he didn't himself oversee the editing. That he handed off to cinema preservationist Michael Arick, who worked with Scott's notes and a 70mm print of the film.
It's as close to Scott's vision as was possible at the time, and it combined elements of the workprint version with elements of the US theatrical version. While it's nice having Harrison Ford's oddly forced narration gone, Scott chose to include the infamous sequence where Deckard falls asleep at the piano and has a dream of a unicorn running through a forest, implying he is in fact a Replicant, and makes the film more about his questioning his identity rather than a detective story.
This is the version where Gaff leaves him an origami unicorn at the end, suggesting Deckard's dreams are known to him, making his memories artificial just like Rachael's. The "happy ending" with him and Rachael is also edited out.
0コメント