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Tag Archive: Blade Runner


Review by C.J. Bunce

It’s not every day you come across the ultimate book for your barber shop, but this is in the running.  Along with a wall listing current local pro and college team scores and a stack of wrinkled sports magazines, a new book about Stan Smith should be on the table if your local haircut joint is like mine.  Who would have thought a style of shoe could reach across so many segments of pop culture?  Excepting basketball player Chuck Taylor’s association with the Converse All Stars shoe and Doc Martens’ famous boots, the Adidas tennis shoe (not sneaker, not trainer) that Smith put his name on is easily one of the most identifiable athletic shoes of the past five decades.  Smith and his shoes, known simply as “Stan Smiths” to most, have had a mutually beneficial relationship, and everything you’d want to know about the professional tennis player and his shoe can be found in the new book Stan Smith: Some People Think I’m a Shoe, a collection of stories about the athlete who was the world’s #1 tennis player in 1971 and 1972 and a two-time Grand Slam singles champion–and his famous shoe.

It’s said to be the shoe Harrison Ford wore as Rick Deckard in Blade Runner–a pair of Stan Smiths spray-painted black.  From The Beatles to hip hop, the unassuming white shoe with green trim and perforated lines instead of stripes has been a preferred accessory across popular music icons.  David Bowie and John Lennon made their own statements wearing Smith’s tennis shoe with their otherwise more stylish clothes.  They were a regular sight among The Beastie Boys years later, Jay-Z included them in lyrics to one of his songs, and custom Kylie Minogue, Pharrel Williams, and Elton John versions of the shoe sold for big bucks at auction.  The shoe went through technology upgrades over time, but it has always remained instantly recognizable.  An A to Z section of Stan Smith: Some People Think I’m a Shoe includes anecdotes from Smith from his trips around the world, history of the shoe from the decision by Smith to endorse the Adidas Haillet–the first leather tennis shoe invented in 1963–with his own name ten years after its creation, to Smith’s current status as mentor, coach, and philanthropist.  The hardcover volume with 336 pages of full color photographs feature Smith’s life, newspaper coverage of his key games, pop culture personalities and how they were affected by either Smith or the shoe, and dozens of versions, schematics, and designs that Adidas has introduced to the Stan Smith shoe since 1973.

   

The book is also a look at a long-lasting advertising idea, an endorsement that created an artifact of sub-culture tapped as a symbol of identity by Baby Boomers to Millennials, eclipsing a wide range of fields of celebrity.  The book reflects the art of self-promotion, including commentary from executives from Adidas past and present plus execs at places like PepsiCo, as well as artists and designers influenced by the shoe–the book itself is a promotion for the continuing sales of the shoe.  One commenter believes you’ll find more Stan Smiths on the streets of Paris than berets.  And it was added to the Guinness Book of World Records as the top-selling “named” shoe when it surpassed 22 million pairs sold.  The book interviews one fan who boasts 230 pairs in his home.  Former tennis pro Martina Navratilova wears Stan Smiths everywhere today.  According to a curator at the Metropolitan Museum of Art in New York City, “The magic of the Stan Smith shoe is that it can pass as a normal sneaker but also be used as a dressed-up shoe to a black tie event.”  Some people even seek out beaten-up pairs of the shoe because they think they look better.

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Review by C.J. Bunce

The right mix of writing, acting, art direction, and music come together in Orbiter 9, a direct-to-Netflix Spanish film that really has it all.  Like the critically-acclaimed Midnight Special, saying too much about the plot will give away too much of what is compelling about this film.  But you can be sure to find a tense piece of science fiction derived from those classic tales of great writers of the past like Arthur C. Clarke, Ray Bradbury, and Philip K. Dick.  It’s a tale of future Earth where Earthlings have ravaged the planet, so, like recent sci-fi entries Passengers and the Lost in Space reboot, the only chance for humans is to embark on long voyages to distant worlds.

Clara Lago (The Commuter, The Librarians, LEX) masterfully plays Helena, a young woman left on board a spaceship heading from Earth to a distant colony who encounters an engineer named Álex, coming to repair the ship’s oxygen system, played by actor Álex González (X-Men: First Class).  We learn from a video image Helena is re-watching that her parents left her alone three years ago when the oxygen system broke down–their math showed that with Helena flying alone the oxygen could still get her to Celeste safely.  Raised on the ship since birth, she has never met another human.  She is diligent in her daily rituals, including exercise, with a determination to complete her mission prompted by her parents’ sacrifice.  But after Álex’s arrival, everything changes.

More believable than prior visions of the future in this sub-genre (Passengers, Moon, the Cloverfield series), Orbiter 9 may pull its tale in part from classic Greek sacrifice mythology or closed-room mysteries like Alfred Hitchcock’s Lifeboat, and wrestles with the limits of sacrifice, for family or others–again, a concept addressed in many past sci-fi stories, Star Trek in particular (think Star Trek II: The Wrath of Khan, “Suddenly Human” in Star Trek: The Next Generation and “Child’s Play” from Star Trek Voyager).  Do the needs of the many outweigh the needs of the one?  Orbiter 9 attacks this question in many surprising ways.  And unlike many a recent sci-fi film, it’s story belongs in a full feature format like this–it’s not just another short story dragged out to fit a movie-length format.

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Titan Publishing and Alcon Media Group, the producer behind more than 30 films over the past 20 years, announced a partnership that will mean the beginning of an expanded universe of stories for Rick Deckard, Replicants, and the world of Blade Runner and Blade Runner 2049.  So expect new comic book series, tie-in fiction books, and maybe even a new book on Syd Mead and that tech noir futurism the franchise is known for.  It would seem the possibilities are endless.

In a press release issued late yesterday, the companies said they will develop and publish a variety of both fiction and non-fiction print media.  The program will feature new, “in canon” comics and graphic novels that dive deeper into the Blade Runner world.  They also plan to create a variety of publications focused on the visual and technical sides of the films.  Titan is also well-known for its Hard Case Crime imprint featuring the best of classic, lost, and new crime genre stories.  What better avenue to issue a vintage-style Deckard and femme fatale Rachael noir story than in a Hard Case Crime novel?

Alcon expressed its confidence that the world of Blade Runner will continue to organically grow in a way that refuses to sacrifice the quality, tone and high standards of this beloved property.  “We are extremely excited to be publishing Blade Runner comics and illustrated books,” said representatives of Titan.  “The Blade Runner universe has barely been explored; there is so much more there.  It’s an honour to be bringing this world to life in new ways for a new audience – and to reveal tales from that universe that you’ve never seen before.”

Ridley Scott’s Blade Runner was adapted from the novel Do Androids Dream of Electric Sheep?, a novel by science fiction legend Philip K. Dick, who endorsed the original film project in 1982, but died before its release.

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Review by C.J. Bunce

Credit for the success of Blade Runner 2049 as a worthy sequel to 1982’s Blade Runner is a shared prize for director Denis Villeneuve (Arrival, Sicario), the writers, including screenwriter Michael Green (Logan, Alien: Covenant), source material creator Philip K. Dick, and original Blade Runner screenwriter Hampton Fancher (The Mighty Quinn), plus at least two dozen other unnamed creators whose early science fiction works were mined for the story.  Predictable, derivative, slow-paced, and overly long, Blade Runner 2049 still lands as a solid sequel and will no doubt please fans loyal to the 1982 film.  The beauty of the sequel is the earnest, ambitious effort of Villeneuve under the eye of executive producer and original Blade Runner director Ridley Scott to give the story a reserved touch.  The sequel has the now classic dystopian look of the Mad Max or Terminator: Salvation variety, stretching the original Syd Mead futurism and punk noir vibe into a different but logical new direction–think Blade Runner with the lights turned on.

From the first scene Villeneuve & Co. dig in to not just sci-fi tropes but cyborg heavy themes that sci-fi fans know very well from similar explorations in countless books, television series, and films since the early 1980s, when the idea of adapting something like Dick’s novel Do Androids Dream of Electric Sheep? into a big budget film was something less familiar to film audiences.  The filmmakers touch on many classics–Frankenstein, Bride of Frankenstein, Pinocchio, Shakespearean tragedy–to countless episodes of the Star Trek franchise (lead character and Replicant K/Joe played by Ryan Gosling revisits several direct themes the android Data explored in Star Trek: The Next Generation).  More than ten minutes is spent revisiting the latest technology called an “emanator” that Star Trek Voyager fans will be familiar with as the Emergency Medical Hologram’s “holo-emitter,” a device allowing holograms to move around the world.  What in the early 1980s may have wowed audiences is here not so eye-popping because of the legacy Trek tech called the holodeck.  But none of these flashbacks to sci-fi’s past really takes anything away from the elements re-used in Blade Runner 2049 because they are all stitched together into a clean story.  To some it will be a Where’s Waldo? of sci-fi storytelling and to others the simple nostalgia of exploring Isaac Asimov’s themes of the Robot and the Self will be worth a revisit.

Many questions are asked in the lengthy 2 hour-and 43 minute-long film, and some, but not all, will be answered, disappointing a few loyal fans of the original.  Deaths of characters and actors since the original limit the return of certain characters from the original, but where they happen it’s done right.  One scene, however, is a complete misfire–a character walked onto the screen to the gasp of this reviewer’s theater audience, only to find it wasn’t really who was expected based on the build up of the scene.  But the biggest misfire is Villeneuve’s use of sound and score.  Villeneuve turned to Benjamin Wallfisch and Hans Zimmer for the musical score, unfortunately creating a dreadful use of sound in the film, compared to the original film’s excellent score by Vangelis.  Where the use of Vangelis’s synthesized cautious, futuristic melodies took a backseat to story and dialogue in the original, here Wallfisch and Zimmer lean on dissonant John Cage-esque chords and blare noises like someone sitting on a piano or a kid plugging his guitar into an amp for the first time, over and over, at full volume–the aural equivalent of J.J. Abrams’ lens flares.  The poor sound takes away from a visual work that could have benefitted from a closer look at the use of sound in the original.  I.e. take at least one earplug along, especially in an IMAX or other digital theater.

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Review by C.J. Bunce

Syd Mead, the famed “artist who illustrates the future,” is an icon of visionary design and illustration.  No other creator has shown the world a utopian vision of a possible future in so many ways.  At the same time he has created a world we want to see develop that lies ahead, we have seen his future begin to be realized.  His aerodynamic designs have influenced auto design in recent decades from car makers including Chrysler, Ford, and GM.  He has created the look of space technology that we all accept as believable thanks to his concept art–art that has influenced the art direction of films for four decades.  A new book published this month provides an in-depth intellectual review of Mead’s style, influences, and impact on the history of design.  The Movie Art of Syd Mead: Visual Futurist is a college level, art design course book of sorts that takes movie concept art to an entirely new level, a serious look at his style that will appeal to serious artists in any field, and a popular work for fans of the films he has inspired.

“What makes Syd’s vision so compelling,” says the book’s author, architect/designer and professor Craig Hodgetts, “is not only the means he employs to convey it, but the acute physical and environmental awareness: the endless curiosity about how the world works; the precise level of detail and the practical engineering knowledge that he brings to even the most fantastic devices.”  Beginning with the look of the both geometric and organic mechanical villain V’ger from the year 2273 in 1979’s Star Trek: The Motion Picture to a mid-21st century casino and hotel in this year’s Blade Runner 2049, Mead’s sketches, drawings, illustrations, and paintings have inspired and influenced the art design of dozens of movie productions.

   

Mead’s most groundbreaking and memorable cinematic visionary creations came in the 1980s with four films.  Returning to our theme of celebrating 1982 films, for Ridley Scott’s Blade Runner Mead was influenced by Edward Hopper’s desolate cityscapes.  To translate author Phillip K. Dick’s writings into visual form, Mead and Scott took an idea of sculpture artists Robert Rauschenberg and Richard Stankewicz and author William Gibson.  The filmmakers lay claim to be the first to use their ideas of “retro-fitting” on film–the process of creating a unique object by means of a strategic assemblage of allied components; by harvesting parts from abandoned or obsolescent “donors” and re-assembling them, a new entity is created.  In the same year as Blade Runner, Mead saw his designs realized in the very different world of Tron, modelling a convincing digital world by extrapolating from the patterns of computer motherboards and other now obsolete technology of the era.  The giant screen-filling image of Master Control, the labyrinthine pathways for the lightcycles, and Sark’s hefty transport vessel all hailed from the mind and pen of Mead.  Taking the look of James Cameron’s original Alien film and modifying it significantly, Mead skipped the “slick shapes of Star Trek” and the “greeblies of Star Wars” to create what he envisioned as a “highly-engineered, purposeful vessel” where each feature could have a function, in the 1986 sequel Aliens In the same year, Mead created what would become an iconic image of the 1980s, Number Five the robot, the friendly star of the film Short Circuit.

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For more than six years we at borg.com have been covering entertainment memorabilia auctions–sales of not merely replicas or mass-produced collectibles, but the real objects seen on film–rare or even one-of-a-kind costumes created by award-winning Hollywood costume designers, detailed props created by production crew, model vehicles created by special effects departments like Industrial Light and Magic, prosthetics created by famous makeup artists, set decoration, concept art, and much more.  Amassing a wide variety of artifacts from classic and more recent film and television history, London and Los Angeles-based Prop Store is hosting its annual auction later this month.  Known for its consignment of some of the most well-known and iconic screen-used props and costumes, Prop Store’s ultimate museum collectibles auction will be open for bidding from anyone, and items will be available at estimates for both beginning collectors and those with deeper pockets.

The Prop Store Live Auction: Treasures from Film and Television will be auctioning off approximately 600 items.  You’ll find the following movies and TV shows represented and more:  3:10 to Yuma (2007), 300, Aliens, Back to the Future films, Blade Runner, Chitty Chitty Bang Bang, The Chronicles of Narnia films, Elysium, Enemy Mine, Excalibur, The Fifth Element, Gladiator, The Goonies, Gremlins 2: The New Batch, Jason and the Argonauts, Hellboy II: The Golden Army, the Indiana Jones films, Iron Man, the James Bond films, Judge Dredd (1995), the Jurassic Park films, Kick-Ass 2, Kingsman: the Secret Service, Lifeforce, Looper, The Lost Boys, The Martian, The Matrix, Men in Black III, Mission: Impossible (1996), The Mummy (1999), Patton, Pirates of the Caribbean series, Predators, the Rocky films, Saving Private Ryan, Scarface, Serenity, Shaun of the Dead, Shawshank Redemption, Sherlock Holmes (2009), Star Trek franchise, Star Wars franchise, Starship Troopers, Superman films, Terminator films, The Three Musketeers (1993), Tropic Thunder, Troy, True Grit, Underworld: Evolution, Who Framed Roger Rabbit, Willow, The Wolfman (2010), World War Z, and the X-Men films.

You can flip through the auction house’s hefty 360-page catalog, or start with a look at what we selected as the best 50 of the lots–what we predict as the most sought-after by collectors and those that represent some of fandom’s favorite sci-fi and fantasy classics and modern favorites.

  • Industrial Light and Magic 17 3/4-inch Rebel Y-Wing filming model from Return of the Jedi
  • Sark (David Warner) Grid costume from the original Tron (1982)
  • Julie Newmar’s Catwoman costume and Burgess Meredith Penguin hat from the classic Batman TV series
  • Buttercup (Robin Wright) Fire Swamp red dress from The Princess Bride
  • Chekov (Walter Koenig) “nuclear wessels” costume, Dr. McCoy (DeForest Kelley) costume, and Sulu (George Takei) double shirt from Star Trek IV: The Voyage Home
  • Full crew set of costumes (Malcolm, Zoe, Wash, Jayne, Inara, Kaylee, River, Book, and Simon) from Serenity (sold as individual costume lots)
  • Jack Nicholson purple Joker costume, plus separate coat and hat, from Batman (1989)
  • Enterprise-D 48-inch “pyro” model from Star Trek: The Next Generation
  • Will Munny (Clint Eastwood) stunt shotgun from Unforgiven
  • Star-lord helmet from Guardians of the Galaxy
  • Thor (Chris Hemsworth) Mjolnir hammer from Thor

  • Ghostbusters and Ghostbusters II jumpsuits made for Bill Murray as Dr. Peter Venkman
  • Witch-king of Angmar crown from The Lord of the Rings: Fellowship of the Ring
  • Val Kilmer Batman suit and cowl from Batman Forever
  • Maverick (Tom Cruise) flight suit from Top Gun
  • Geoffrey Rush Captain Barbossa costume from the first Pirates of the Caribbean film, Curse of the Black Pearl

And there are so many more.  Like…

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Yes, the celebration of the movies of 1982 just keeps getting better.  As Blade Runner turns 35, Warner Bros. has partnered with Alamo Drafthouse theaters to present a new 4K restoration of Blade Runner: The Final Cut.  You thought you saw the final version of Ridley Scott’s original vision with the 2007 version?  Well you did, primarily.  Blade Runner: The Final Cut was in theaters only briefly then it was issued in several home variations.  The Final Cut featured restored and re-mastered original elements, plus added and extended scenes, added dialogue, along with new and improved special effects.  The version returning to theaters for the Alamo Drafthouse event updates the 2007 film version with 4K resolution, promising a more immersive theatrical experience than seen before.

All told, Blade Runner is one of the most modified and re-released films around.  The Final Cut was the eighth edition of the loose adaptation of Philip K. Dick’s sci-fi classic novel Do Androids Dream of Electric Sheep?, and this new edition is basically the same as 2007 with a sound and picture upgrade.  Does that make it the ninth version?  That depends on who you ask.  The biggest difference between the original and the earlier director’s cut was the elimination of Harrison Ford’s narration, Philip Marlowe style.  If you’re a fan of classic noir like we are, you really missed the narration in the later editions from the original theatrical release–that narration gave a nice retro feel in contrast to such a darkly futuristic film.  Legal entanglements, cuts for TV and DVD, and more, and a resolution or two later and here we are with this new upgrade.

Leading up to the October 6 release of the long-awaited–unlikely–sequel, Blade Runner 2049, Warner Bros. is releasing a 35th anniversary edition home release of Blade Runner: The Final Cut, coming September 5, including director commentary.  You can pre-order the Ultra HD Blu-ray Combo Pack and Digital here at Amazon now.

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Review by C.J. Bunce

A great imagination is a rare thing.  Science fiction has always been, at its core, an avenue for writers to express the endless breadth of their imaginations.  In Bradley W. Schenck’s new novel from Tor Books, Slaves of the Switchboard of Doom: A Novel of Retropolis, Schenck creates a story within a world we’ve never seen before, a world only hinted at in early 20th century pop culture, early pulp novels, and film.  For fans of classic sci-fi and all things retro, Slaves of the Switchboard of Doom deftly handles science fiction futurism like rarely seen before.  With the same awe and amazement that readers flocked to the future worlds created by Philip K. Dick in his myriad short stories, readers will be glued to the visuals Schenck introduces here.  Painted with shiny blue enamel and chrome, his details are filled with answers to questions from yesteryear.  Answers to questions about the handling of the day-to-day, the mundane, and the ordinary, in an uncertain world of tomorrow where nothing could possibly be mundane or ordinary.  After all they have ray guns and rockets and use slide rules like we use smart phones.

We’re introduced to Retropolis, its immense size and cities inspired by an Art Deco-era mindset and Fritz Lang’s Metropolis, yet a world not at all dark or dreary.  This world is new, big, and bright, as detailed, and as big as the original world audiences discovered in Tron in 1982, but far more developed than the future world we met earlier in Logan’s Run.  Closer to anything else, this is Walt Disney’s vision of Tomorrowland.  The hero is everyman, like Korben Dallas, a Plumber-Adventurer, with all the dash and dazzle of Flash Gordon and Buck Rogers, whose nemesis is a Bondian villain pulled right out of Moonraker, with an equally vile plan to destroy the world as we know it–or at least as our grandparents might have dreamed it.

Like Metropolis, Schenck delves into the trials of human nature at the personal level in an industrialized world, as he follows a crew of switchboard operators whose jobs appear to have been displaced by robots.  But even the robots of Retropolis are like nothing you’ve seen before.  They are several steps before Replicants, but they are People in an early climb up the ladder toward autonomy.  It’s a 1930s vision, with a 1950s shine, bogged down with 21st century problems.  But don’t think this is a political book–the plight of the humans and the robots merely give credibility and gravity to this exciting and fun reality as a small band of average Retropolitans attempt to save the world from certain doom.  And there’s more–Schenck is not only the author of the novel, but the artist supplying futuristic illustrations of his world, complete with end pages featuring a useful guide to each of the story’s main characters.  With so many books written to drive you to the happening at the end, it’s the whirlwind fun of the ride that will prompt you to slow down and enjoy every word–and not want to finish the book so quickly.  It’s great fun.  Even each chapter has a classic, grand, Saturday morning serial title.

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What exactly is Atari doing in 2049?

Ridley Scott’s neo-noir, sci-fi masterpiece Blade Runner is one of science fiction’s classic films. Released in 1982, Blade Runner, a loose adaptation of Philip K. Dick’s novel Do Androids Dream of Electronic Sheep? revealed a world of life-like borgs called Replicants hiding among us in the year 2019.  Scott is back, this time as an executive producer, for the surprise sequel Blade Runner 2049, directed by Denis Villeneuve (Sicario, Arrival).

Top billing this time goes to Ryan Gosling, who wasn’t born yet when the original was in production.  Harrison Ford returns, as seen in the trailer released this week by Sony and Columbia Pictures.  Blade Runner is known for its brilliantly realized future city, and the teaser includes no indication of whether it will be set in the giant wonder of technology that was the city where Harrison Ford’s Deckard hunted Replicants and befriended one in Sean Young’s beautiful damsel in distress, Rachael.  Young appeared in last year’s Western Bone Tomahawk.  Will she have a surprise cameo in Blade Runner 2049?

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Other actors appearing are Suicide Squad’s Jared Leto (a pretty gross fellow in the trailer), The Princess Bride’s Robin Wright, Ant-Man’s David Dastmalchian, and Guardians of the Galaxy and Spectre’s Dave Bautista.  Here’s the new full-length trailer for Blade Runner 2049:

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Ridley Scott’s neo-noir, sci-fi masterpiece Blade Runner is one of science fiction’s classic films.  Released in 1982 Blade Runner, a loose adaptation of Philip K. Dick’s novel Do Androids Dream of Electronic Sheep? revealed a world of life-like borgs called Replicants hiding among us in the year 2019.  That dark future thankfully hasn’t happened yet.  Scott is back, this time as an executive producer, for the surprise sequel Blade Runner 2049, directed by Denis Villeneuve (Sicario, Arrival).

Top billing this time goes to Ryan Gosling, who wasn’t born yet when the original was in production.  Harrison Ford will return, and the first teaser trailer was released by Sony and Columbia Pictures this week.  Blade Runner was known for its brilliantly realized future city, and the teaser includes no indication of whether it will be set in the giant wonder of technology that was the city where Harrison Ford’s Deckard hunted Replicants and befriended one in Sean Young’s beautiful damsel in distress, Rachael.  Young appeared in last year’s Western Bone Tomahawk.  Will she have a surprise cameo in Blade Runner 2049?

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Other actors expected to appear in the film include Suicide Squad’s Jared Leto, The Princess Bride’s Robin Wright, and Guardians of the Galaxy and Spectre’s Dave Bautista.  Here’s the first teaser trailer for Blade Runner 2049:

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