《银翼杀手》是一部由雷德利·斯科特执导,哈里森·福特 / 鲁特格尔·哈尔 / 肖恩·杨主演的一部剧情 / 科幻 / 惊悚类型的电影,文章吧小编精心整理的一些观众的影评,希望对大家能有帮助。
《银翼杀手》影评(一):沉睡在时间的洪流中——关于《银翼杀手》的一些呓语
《银翼杀手》对我来说是如此的真实。我一直比较排斥科幻类题材的影片,但是这部例外,相对于时下这些拍给游戏玩家的科幻片,它所带了的震撼不仅仅是停留在视觉这么简单,回味起来更是拍案叫绝。一个不用特效支撑的科幻电影,本身就是一个挑战。故事里所提出的命题就足够令人迷惑。《银翼杀手》影评(二):嗲
要看好这部片子是要一定的情怀的。电影里用到的“Empathy Test(移情测试)”的移情,就是心理学上讲的,人可以换位思考。把自己放在对方位置,想象痛苦或快乐的精神体验。这是动物和机器做不到的。《银翼杀手》影评(三):真实的记忆
2019年11月洛杉矶
在天空中不停绽放而后熄灭的火焰,大地上点点灯光,从远处滑过的飞船,未来都市邀请你进入。
星光倒影在一双湛蓝的眼睛里,繁华的都市下人类开始复制人的“退役”。
什么是人?什么是复制人?
——复制人就像其他的机器,不是有益便是有危险若他们有益,则和我无关
为了清楚他们,警局找到退役的老银翼杀手Deck,威胁他进入调查。
——他们各方面都是设计来模仿人类,除了他们的感情,但设计者认为数年后,他们可能发展出自己的情绪反应,仇、恨、爱、恐惧、愤怒、羡慕,所以他们做了保险设置
——是什么?
——四年的寿命
这样是残酷还是其他?
——比人类更像人类,是我们的座古铭。蕾切尔是个实验,如此而已。我们开始认同他们,这是种怪异的妄想。毕竟他们缺乏情感体验,只有几年的时间去积累。你我视为理所当然的体验。如果我们赐予他们过去,创造出他们的情感上的依靠和安慰,结果是我们更能控制他们
——记忆,你说的是记忆
可是人也是如此成长
有记忆,也会有思念,也会有鲜血,那么到最后,除了寿命,和人有何不同?
复制人的造物主无法改变那已然既定死亡的命运,欺骗反抗也变的毫无意义,最后的同伴也死去,似乎只有珍贵记忆才可以证明我存在过,可这一切也将伴随大雨而去。
救赎并非没有,救赎总在杀戮之后,可谁又知道这是救赎还是那些像雨水一样的回忆呢
I've seen things you people wouldn't believe. 我所见过的事物,你们人类绝对无法置信。 Attack ships on fire off the shoulder of Orion. 我目睹了战船在猎户星座的端沿起火燃烧 I've watched c-beams glitter in the dark near the Tannhauser Gate. 我看着C射线 在唐怀瑟之门附近的黑暗中闪耀 All those ... moments will be lost in time, like tears...in rain. 所有这些时刻 终将流逝在时光中 一如眼泪 消失在雨中
《银翼杀手》影评(四):无题
昨晚我说我要看一部突突突帅哥英雄大打出手的爆米花电影,像xmen一样。然后朋友开始胡乱推荐一气,最后在等待星际迷航下载的过程中我也不知道怎么就开始看这个号称影史最经典科幻片的神作了。。。《银翼杀手》影评(五):4星改5星的理由
原是要带着疑问打4星的。但看完http://movie.douban.com/review/1366891/这个影评后决定打5分。《银翼杀手》影评(六):The Bondage and the Cross
This film would be clear if we look at it through the lens of Hegel’s slave-master dialect: man is the master while the robot is the slave. Slave is dependent on master for its being: it is being-for-other. Like in this film, the robot is not only made by man but also determined by man its way of being: the artificial memory. The essence of being of slave lies in the control of master. Slave lives in terror of the absolute power of master: the direct power of execution/retirement and the four years life span. Man as masters achieve his own independence (being-for-itself) by the work of the slave (the building of the colonies all over the Galaxy and more implicitly using robots to hunt robots) and an opportunity to start a new life as shown in the commercial. More generally, as Heidegger puts it, technology, which reaches its completion in automaton machine, is the slave of man. But all this freedom and independence of man as the master is nothing else but illusion: look at the city in the film. The bright neon lighting, the complex structure of building, the extreme diversity and hybrid of exotic cultures…all of them express the inner emptiness of the master: man is far from being-for-itself and being-in-itself but instead man is torn and reduced to infinite pieces of fleeting and meaningless moments, symbols and cultures with technology in general. Man finds that he lost his essence: he becomes the noise of nothingness. (The common appearance of meaningless foreign languages in the film is a perfect symbol for such noise of nothingness.) The grand metropolitan is the wasteland of meaning while it is filled with vibrant man. In the film, the only way to tell the difference between robot and man is whether he has the emotion, like love, fear, hate and empathy. But does man still have authentic emotion at that time? The always smiling sheriff, the poker face deputy and the Japanese woman (Geisha) with artificial facial expression…man lost his emotion. As Heidegger puts it, the mood/emotion as the fundamental attunement of being of man (Dasein) is the way of being and towards being. Man in the end lost his own way of being: man is nothingness. “The wasteland grows”, cried Nietzsche, “woe to him who hides wastelands within."
Thus just like Sartre puts it, how can we create being from nothingness? How can man as nothingness give life and beingness to the other? That’s why the “God of biomechanics” could not give life to his creation and even himself. And that’s why Let’s return to the test of turtle at the very beginning of the film: in this test, the subject is asked about three things: 1) the hypothetical place 2) the hypothetical action he did 3) the reason of causing death. Why can a man easily suppose himself in the hypothetical dessert and act as if it were true without even thinking about how this could be possible? Because man is nothingness. Just like anything could follow a false proposition, man can follow anything without betraying his essence, which he has not. Then what could fulfill this empty nothingness and what could lead man back into something in his heart instead of nothingness within him? By causing and consuming the death of the other. Robot doesn’t understand this, so that it could not understand how watching turtle die is the only way for man to escape from the inner and outer dessert to build a standing point for himself: we create our own original sin, which we fix on.
But Robot as slave is innocence: it is what truly has independent being as being-for-itself. Although slave is constantly live in the fear of death brought by the absolute lord, it, by Hegel’s notion of “work”, becomes implicit unity between being/consciousness and death instead of the pure negation of the master as nothingness. They become truly alive. “I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhäuser Gate.” It is through their true interaction with world as world that the robot become the real independent being: through work, they give forms to their own being and truly create their ways of being: the authentic emotion. However, while they get hold of their essence of being, they still have a master and their death is still in his hand. So they come back to see their maker, the master, to ask for life. But master doesn’t have life: what the slave truly learn is the truth of death, the absolute death and the death of both master and slave—the death of master-slave dialect itself. They become the true unity with death and move beyond both the master and slave: by accepting death, they move to the absolute spirit (the deity). “All those moments will be lost in time, like tears in rain. Time to die.”
But, slave could not be free on their own. As soon as they supersede the master-slave dialect, they save it as moments of being/consciousness. In the other words, they preserve master and its own nothingness (the killing) within their being. They inherit our original sin. Just like in the film, Roy’s betray and murdering of God and Deckard’s betray and murdering of his own kind (the sin of Cain). (It’s rather obvious that Deckard is also robot, which we would not discuss further here.) They are split and contradictory internally: they are both Judah and Jesus (Roy as the son of “God of Biomechanics”, the salvation of his own people), both Abel and Cain. This is the essence of the final fight between Roy and Deckard: it is the fight within the robot, the conflict within the “unhappy consciousness” of Hegel. There are several symbols hinting the religious meaning in that: 1) Roy uses a nail to pierce his hand, which is alluding to the crucifixion of Jesus. 2) the releasing of the dove, which is the symbol for the Holy spirit. It is now clear to understand the ending: the reconciliation between Roy and Deckard is the reconciliation between Judah (robot as man) and Jesus. Just like Jesus used His blood redeem our sin, Roy uses his death to finally establish the ground of freedom from the original sin and the split: he makes Deckard realize and grip their own essence of being as robot and slave (the authentic emotion): they do not need guilt and sin to fixate themselves; and how their common essence lead them to the same absolute spirit, away from this wasteland: they are the same and they are the one. That’s why Deckard finally breaks all the barriers between him and Racheal and leaves with Racheal in the very end: they finally get the true freedom and love in their unity instead of consumption of each other.
But the last question is, what’s left for man? For us? If we have already lost our redemption long long ago? Can the son of Mechanic God save us? I don’t know.
Citation:
Hegel, “Phenomenology of Spirt”
Heidegger, “Fundamental concepts of Metaphysics”
Sartre, “Being and Nothingness”
杂项笔记:
乌龟测试:1)测试对于自身原罪性的认识 2)测试纯粹假设能力—人类没有本质所以人类才有能力去幻想不存在/nothingnessà萨特
Think about positive words about your mother?
I will tell you about my mother.
Shoot
More human than human
Memory:谎言,复制人感到悲伤,觉得自己脱离本质:但其实他们才是本质
男主的原罪:机器人的原罪,他杀死了蛇。
It’s too bad she won’t leave, but again, who does?
机器人:犹大和耶稣的统一
《银翼杀手》影评(七):超前的想像加上耐人尋味的劇情
看了兩天才看完,記得去年跟Grafield去了Bradbury Building, 本來去是因爲500 Days of Summer的結局在那拍,去到才知道Blade Runner也在那拍,而且佔了很多幕。Bradbury Building的內外都設計得既古典又不失未來感,尤其Blade Runner裡常常用兩條射燈扮直升機在建築物上空盤旋,更加把未來神秘感加強。原來它比回來未來二更早出現空中飛車,加上圓形而不是方形的車身實在令我太佩服創作者們對未來的想像力。整部片子的黑夜暴雨大霧把當時的有限技術虛化之餘,又加強悲壯感。片中常出現的中文、日文字和日本文化的確很突出未來感,畢竟當年是日本科技領先並影響美國最深的年代。當然也會出現粵語國語混合的馬虎時候,也有現在看來太少便提機器,太多桌上機器的畫面。但比起現在的科幻片,7、80年代科幻片對未來的想像力都太超前了。00年代到現在的科幻片對未來的想像所能突破的都很窄。入正題,如果不算上主角Deckard喜歡的女生,他有三個要殺死的人造人。而每個他都是用槍去KO, 可知道這三個人都是赤殺空拳去跟主角打。其實很不公平,假若我是他們也死得不服氣。最可笑是他真的沒有槍就害怕了,因為他依賴武器取勝。Deckard這頭殺了Zhora, 轉頭上了Rachael。這個人連自己的立場都不清楚,不要說他有多愛Rachael。在我看來,他們發生親密關係其實也是他霸王硬上弓再誘導她的結果。相反,Roy這個人造人對愛和感覺的表現都比Deckard來得更深。他看到Pris死後,兩次抱著她的屍體哭,親她更把她的血擦在自己嘴上痛哭。可見Roy對Pris並不像Deckard對Rachael那麼表面。很經典的一幕,是Roy在他的手快失靈時,拔一根釘插穿自己的手心,希望用痛覺留住手的知覺。他純粹只是一個求生的人,但人類就是不允許。其實Roy也不算是被Deckard用槍KO的,他也戰鬥了很久才被另一個警察開了致命一槍。重點是他曾經可以搶走Deckard的槍,但他只是扳斷了Deckard的兩根手指,而每根分別代表被Deckard槍殺了的Zhora和Pris。在Roy明顯沒有盡全力去殺Deckard的情況下,Deckard還能趁他說話時棍棍打臉來襲擊他,實在是太卑鄙。最把Deckard的"人性"比下去是Roy在緊急關頭選擇了救他,而不是看著他死。銀翼殺手絕不是什麼忠角,以多欺少,暗戰傷人。相反,四個被追殺的人造人就比人類簡單很多。他們只想延長壽命,畢竟人造人短短四年的壽命都只是被奴役,然後就壽終正寢。雖然我很討厭Deckard,但劇情的確很讓人反思人性。Roy之所以會死,是因為他不夠像正常人類那麼自私,那麼懂得透過剝削別人來自保。他對住一個狠心的人不夠恨心,他輸在他比人類更好人。Roy說的death speech很感人,也顯得他的簡單和高尚。"All those moments will be lost in time, like tears in rain. Time to die."
十月就會上映Blade Runner 2049, 並不期望劇本上的超越,但求保持到攝影水準。最好也能把節奏抓好一點,因為我覺得Blade Runner開頭的節奏若不是那麼緩慢,應該會有更多人能看下去。
《银翼杀手》影评(八):Blade Runner
1982年,一部名为《银翼杀手》的影片在美国上映,但因为其阴暗压抑的影像风格和缓慢凝重的节奏而掌声寥寥,刚经历了几部娱乐巨作强烈视听冲击的观众很难对这样一部灰色晦涩的影片产生兴趣,评论界也恶评如潮,甚至因《星球大战》和《夺宝奇兵》而如日中天的哈里森·福特自己也承认片中没有任何发挥的空间……但现在,这一切都成为了过去。这部被众多影迷和科幻迷认为最被忽略的老片终于在时间的流逝中发出了光芒。2004年,由英国《卫报》发起、由60位顶尖科学家参与投票的电影史上最佳科幻片的评选中,雷德利·斯科特的这部1982年的经典作品《银翼杀手》以最高票数当选影史第一。《银翼杀手》影评(九):几个问题
记录几个印象比较深的问题:《银翼杀手》影评(十):跨时代的反思
《银翼杀手》:黑色科幻电影的先驱