BladeRunner Tagged Articles at Cinematical

If recreations aren't your thing and you've always wanted to own a genuine piece of Blade Runner history, today is your lucky day ... but it's going to cost you. Christie's Great Estates has announced that Frank Lloyd Wright's Ennis House (also known as The Blade Runner House), is officially up for sale. There is a $15 million price tag on the house, but the cultural landmark is still a bit of a fixer-upper, and renovation costs are estimated in the millions. Ennis House was built in 1924, but despite being one of the most famous landmarks in L.A., keeping the house standing has been proving more difficult over years.

Since it was first built, Ennis House has been crumbling thanks to earthquakes and rainstorms, but the movie landmark has been under the protection of a trust (whose members included Diane Keaton) for years. But when the expense of maintaining the house had become too much, the trust finally made the decision to sell. The trust's president was quoted as saying, "We've made a lot of progress, but a private owner with the right vision and sufficient resources can better preserve the house than we can." (Check out images of Ennis House below)



Ennis House has served as a backdrop for plenty of movies and television shows over the years, like Buffy the Vampire Slayer and Black Rain. Although, acting as the stand-in for the famed Replicant hunter's apartment was what put the home on the map for most movie buffs. $15 million is a little out of my price range, but I do wonder who will manage to snag the house first? Will it be a fan of architecture, or one serious sci-fi collector?

After the jump: a collection of Ennis House's greatest hits on the big screen.

Duncan Jones cut his teeth on the sets of Labyrinth and The Hunger, but for his directorial debut, he opted for something that didn't star his dad (I'll let you guys and girls mull over the common thread).

Rather, Moon is a showcase for star Sam Rockwell, who gives what is surely one of the year's more uniquely layered performances. As the film opens today in NY and LA before rolling out in the weeks to come, Jones spoke with Cinematical about shooting sci-fi on a small budget, releasing an indie in a season of blockbusters, and cracking his skull out of pure giddiness for a movie.

Which one, you ask? We'll tell you after the jump...

We could argue for days if androids really dream of electric sheep or what those damn origami unicorns mean, but one thing we can know for sure is that copyright laws are more confusing than Mormon underwear. An excellent example of this is a new project from Ridley Scott's RSA Films' called Purefold.

Free Scott, a part of Ridley Scott Associates Films, is hooking up with indie studio Ag8 to develop Purefold, a web series that will grapple with the themes in Blade Runner without actually referencing that world in any direct fashion. The web shorts, will could eventually become a TV series, will evoke the grand themes of the sci-fi classic -- compassion, humanity, identity, a dystopian future -- without using anything from the book it was based on ... due to copyright issues.

Let me get this right out of the way: I love the folks over at Moviefone; they're cool people. We've hung out together, thrown back a few cold ones and even high-fived on one or two occasions. But this latest list ... well, I'm a little upset. Moviefone has counted down the top 40 films from the '80s, and while I certainly agree with a lot of the films on said list, their placement is completely out of whack. Here's their top five: Raiders of the Lost Ark (1), Blade Runner (2), Raging Bull (3), Empire Strikes Back (4) and This Is Spinal Tap (5). Don't get me wrong -- all dynamite flicks -- but Back to the Future at 21, Ghostbusters at 40 (!!!!!), E.T. at 20 and The Breakfast Club at 27? And don't get me started on the fact that Ferris Bueller's Day Off didn't even make the list -- just thinking about it sends murderous shivers down my spine. What's up with that Moviefone?

I guess when it comes to listing the best '80s movies, I'm more inclined to stick films that defined the decade in top spots moreso than films that were critically acclaimed (not that some can't be both). I mean, I definitely do not think Bull Durham (9) should beat out Aliens (10), The Terminator (13) or The Shining (14) ... but maybe I'm missing the total and complete awesomeness that is Bull Durham. Check out their list over here and let us know where they got it right and where they went wrong. (Trust me, I've already gone after them about the Back to the Future placement because if we don't protect Marty McFly, who will?)

Over on his Times Online pop culture blog, Michael Moran confronted what he considered to be the ten silliest sequel rumors at the moment. His list runs the gamut from projects we've been hearing about for ages -- The Goonies 2 and Ghostbusters 3 -- to ones that never crossed my radar in the slightest (dude, they should totally bring back Katherine Heigl if they go through with Under Siege 3).

For that matter, what's The Wicker Man without a shouting Nic Cage? Or an I Am Legend prequel in which Will Smith finds himself confronted with hardship after hardship until we end up where the first one began? (In that case, simply remake The Pursuit of Happyness, but with a deadly virus replacing crippling poverty.) Speaking of post-apocalyptic pandemics, I do count myself among those pleasantly surprised by how much 28 Weeks Later worked, so I'm more reluctant than ever to write off a third one. (As a bigger fan of Cloverfield, though, I think that they're just pushing their luck with any sort of follow-up.)

Thusly, I ask which, if any, of these sequel/prequel prospects are you guys and gals excited for? And which ones seem downright ludicrous to consider *cough*Blade Runner*cough*Watchmen*cough*300*cough*? (And while I'm at it, anyone else ready to throw in the towel on Pirates of the Caribbean? Oh, wait, we've already had this talk...)

Wait, stop -- don't throw yourself out that window just yet! It may or may not be as bad as it looks/sounds. According to Slashfilm, one of their readers attended a Q&A session with one of the writers of Eagle Eye, which was hosted by Creative Screenwriting magazine. During said Q&A, the writer, Travis Wright, said that he and his partner John Glenn were working through "various treatments for a Blade Runner sequel over the last couple years." Apparently, they've been working alongside Blade Runner co-executive producer Bud Yorkin, and all of this has been done outside the studio system -- meaning this is in no way a done deal, only that these writers are trying to put together their best package in the hopes a studio will bite.

As of right now, Ridley Scott is nowhere near the project (although both guys are working on a Warriors remake for Tony Scott), and given the somewhat negative reaction to Eagle Eye, I imagine most fans will take a similar approach. In my opinion, Blade Runner is a film you don't touch and you don't sequel-ize, but perhaps I'm in the minority. Maybe there's a very cool way of doing it -- maybe I'm wrong, and maybe this is a project fans can get behind. What do you think? Blade Runner 2? Could it happen? Would you watch it?

Update: Eagle Eye co-writer John Glenn responded via email to this. Here's part of what he said: "There was a point where Travis and I were working with Bud Yorkin on a sequel to Blade Runner, but that was years back. It never got too far off the ground because the movie is so perfect, so the more we thought about it, the more uneasy we became with the idea. Anyway, just an note to clear the air." More over at Slashfilm.

I recall reading about real-life experiments with invisibility a couple years back, and I could have sworn I blogged about them here on Cinematical. But I must have decided to keep Harry Potter fans from getting their hopes up, despite the fact that the original article I read had specifically mentioned Potter's invisibility cloak. Plus, I must have been hesitant to attempt to explain the science behind it.

Well, now that more news has come out about the development of materials that may be able to render people and other three-dimensional objects invisible, I figure it's time to get excited. Now we can definitely wander around Hogwarts after dark without being spotted by Argus Filch. Or, for the grown up kids, you can potentially sneak into the girls' locker room. Just beware that these real-life cloaks probably don't work so well in such foggy conditions.

There are a few classic films that I simply refused to rent while growing up, specifically for the reason that I knew I should see them for the first time on a big screen. Of these, I managed to see both 2001: A Space Odyssey and Blade Runner in a theater, while others, such as Lawrence of Arabia and Close Encounters of the Third Kind, were on television too often to ignore them on the small screen first. One film that I'm still dying to see in a theater is Terrence Malick's Badlands. A few years ago I actually went to a special screening of the film in Connecticut, but it was disappointingly (understatement) projected from a DVD copy. Then two months ago it played one show at NYC's IFC Center, but I had to miss it for another engagement.

Last week Entertainment Weekly presented an article/photo gallery titled "23 Movies You'd Like to See on the Big Screen," which lists these kinds of films (there's actually many more than 23 cited), most of which should ONLY be seen on the big screen, as they were originally meant to be. The list includes obvious epic choices like 2001, Lawrence of Arabia, Gone With the Wind, The Greatest Show on Earth and The Ten Commandments, as well as other classics, like Malick's Days of Heaven, Casablanca, Once Upon a Time in the West, Star Wars, High Society, Halloween, Singin' in the Rain, To Kill a Mockingbird, Psycho, Oklahoma!, The Music Man, Snow White and the Seven Dwarfs, The Searchers, Stagecoach and The French Connection.

As Jack Handey put it, "It takes a big man to laugh at himself, but it takes an even bigger man to laugh at that man." Crimewave is about that big kind of man, and his partner: two electrocutioners on a rampage. They prowl the streets in a truck with a hog-sized stuffed rat on top, with red light bulb eyes. The driver is Faron Crush, who looks like Paul Sorvino playing the Incredible Hulk. HIs sniggering partner Arthur (Brion "I'll tell you about my mother" James) wears a jumpsuit, fingerless leather gloves, and a flat leather cap the shape and color of a cow-chip. If you ever had a nightmare about Gallagher, that's what Arthur looks like. The two maniacs carry with them "a shocker," a killing-machine that has three settings: "Rat," "Man" and "Hero". And they have no motivation beside malice and sheer professionalism.