Blade Runner The Final Cut

Ridley Scott, 1982 (original release) / 2007 (final cut), USA, Colour, 117 mins, Certificate: 15

This is not one of the best sci-fi films ever made.

This is one of the best films ever made. Period.

Ridley Scott’s ageless, genres deconstructing and reinventing, masterpiece is a fearless adaptation of  Philip K. Dick’s novel “Do Androids Dream of Electric Sheep?” that surpassed its source material to become anything but a replica(nt): an ever influential (cinematic) original.

With iconic dystopian vistas echoing Vangelis’ characteristic, haunting music, much quoted dialogue, and career defining performances by Harrison Ford, Sean Young, Rutger Hauer, Daryl Hannah, Edward James Olmos and Joanna Cassidy, it explores what it means to be human in a way that penetrates the eye, occupies the mind and inhabits the soul. Where it ever grows and renews in unexpected ways.

To celebrate its recent 40th anniversary we are screening its 2007 definitive version that is both Scott’s and Ford’s absolute favourite, The Final Cut, combined with a Film-Themed Whisky tasting by Exploring Whisky, where you’ll taste 4 whiskies famously featured in films (including Blade Runner)!

So join us, to “see things you… wouldn’t believe…”

Reviews:

“Grand enough in scale to carry its many Biblical and mythological references, “Blade Runner” never feels heavy or pretentious — only more and more engrossing with each viewing. It helps, too, that it works as pure entertainment” Rita Kempley, Washington Post

A- “This is perhaps the only science-fiction film that can be called transcendental.” Owen Gleiberman, Entertainment Weekly

“… [T]his is still the most remarkably and densely imagined and visualized SF film since 2001: A Space Odyssey, a hauntingly erotic meditation on the difference between the human and the nonhuman.” Jonathan Rosenbaum, Chicago Reader

★★★★ “But the philosophical edge of ”Blade Runner,” which was blunted in the earlier version by overexplication is much sharper in this new form. Today`s audiences should feel more comfortable with Scott`s hot, tactile, high-relief style, and freer to observe the film`s religious symbolism and its ironic preoccupation with the `40s.” Johanna Steinmetz, Chicago Tribune