Filmmakers behind the upcoming Blade Runner sequel are thrilled after original star Harrison Ford agreed to reprise his role as bounty hunter Rick Deckard in the new movie. Ford starred in the original 1982 adaptation of Philip K. Dick's sci-fi novel Do Androids Dream of Electric Sheep?, and moviemakers recently reached out to him and asked him to join their planned sequel.
Sir Ridley Scott, who directed the first film, is producing the follow-up and he has now revealed Ford is onboard.
He tells Variety.com, "We (screenwriter Hampton Fancher and I) talked at length about what it (the sequel) could be, and came up with a pretty strong three-act storyline, and it all makes sense in terms of how it relates to the first one. Harrison is very much part of this one, but really it's about finding him; he comes in in the third act."
Dallas Buyers Club and Gravity were the toast of the 2014 Oscars on Sunday (02Mar14), but it was 12 Years A Slave which was named Best Picture on Hollywood's biggest night. The Steve McQueen slave drama was a triple threat, also scoring Best Supporting Actress for Lupita Nyong'o and Best Adapted Screenplay for John Ridley.
AIDS drama Dallas Buyers Club served up a double win in the male acting categories with Matthew McConaughey earning his first Oscar for Best Actor and Jared Leto claiming Best Supporting Actor, while Cate Blanchett took home the Best Actress title for her star turn in Woody Allen's Blue Jasmine.
However, it was Gravity which scored the most wins of the night with seven, including Best Director for Alfonso Cuaron and a string of technical awards.
The 86th annual ceremony was presented by Ellen DeGeneres and she opened the prestigious event by joking about the heavy rain which has lashed the usually-sunny state of California in the past few days, and poking fun at Jennifer Lawrence for her clumsy nature after she stumbled and fell to her knees on the red carpet as she arrived at the Dolby Theatre in Hollywood - a year after she tripped up the stairs on the way to pick up her 2013 Best Actress Oscar.
Each of the nominations for Best Original Song were performed, but it was Frozen star Idina Menzel's rendition of Let It Go which earned husband and wife songwriting team Robert Lopez and Kristen Anderson-Lopez the award.
Pop star Pink helped to celebrate the 75th anniversary of The Wizard of Oz by belting out Somewhere Over the Rainbow in front of Judy Garland's children Liza Minnelli, Lorna Luft and Joey Luft, who were among the guests in the audience, and Bette Midler made her performance debut at the awards by singing Wind Beneath My Wings following the annual In Memoriam segment, which featured tributes to the likes of James Gandolfini, Philip Seymour Hoffman, Karen Black, Paul Walker, Annette Funicello, Peter O'Toole, Richard Griffiths, Sid Caesar, Shirley Temple Black, Harold Ramis, film critic Roger Ebert and former Academy president Tom Sherak.
The full list of winners at the 2014 Oscars is:
Best Motion Picture of the Year:
12 Years A Slave
Best Performance by an Actor in a Leading Role:
Matthew McConaughey, Dallas Buyers Club
Best Performance by an Actress in a Leading Role:
Cate Blanchett, Blue Jasmine
Best Performance by an Actor in a Supporting Role:
Jared Leto, Dallas Buyers Club
Best Performance by an Actress in a Supporting Role:
Lupita Nyong'o, 12 Years A Slave
Best Achievement in Directing:
Alfonso Cuaron, Gravity
Best Writing, Original Screenplay:
Spike Jonze, Her
Best Writing, Adapted Screenplay:
John Ridley, 12 Years A Slave
Best Animated Feature Film:
Frozen - Chris Buck, Jennifer Lee & Peter Del Vecho
Best Foreign Language Film of the Year:
The Great Beauty (Italy)
Best Achievement in Cinematography:
Gravity - Emmanuel Lubezki
Best Achievement in Film Editing:
Gravity - Alfonso Cuaron & Mark Sanger
Best Achievement in Production Design:
The Great Gatsby - Catherine Martin & Beverley Dunn
Best Achievement in Costume Design:
The Great Gatsby - Catherine Martin
Best Achievement in Makeup and Hairstyling:
Dallas Buyers Club - Adruitha Lee & Robin Mathews
Best Achievement in Music Written for Motion Pictures, Original Score:
Gravity - Steven Price
Best Achievement in Music Written for Motion Pictures, Original Song:
Let It Go from Frozen - Kristen Anderson-Lopez and Robert Lopez
Best Achievement in Sound Mixing:
Gravity - Skip Lievsay, Niv Adiri, Christopher Benstead & Chris Munro
Best Achievement in Sound Editing:
Gravity - Glenn Freemantle
Best Achievement in Visual Effects:
Gravity - Timothy Webber, Chris Lawrence, David Shirk & Neil Corbould
Best Documentary, Feature:
Twenty Feet From Stardom - Morgan Neville, Gil Friesen & Caitrin Rogers
Best Documentary, Short Subject:
The Lady in Number 6: Music Saved My Life
Best Short Film, Animated:
Mr Hublot - Laurent Witz & Alexandre Espigares
Best Short Film, Live Action:
Helium - Anders Walter & Kim Magnusson
Jean Hersholt Humanitarian Award:
Paramount via Everett Collection
With so many different awards organizations announcing their nominations one after the other, it's difficult to remember how heavily to weigh each one's picks when filling out your Oscar pool sheet. Generally speaking, the BAFTAs are a fairly safe guide when it comes to the Best Picture category. Since 2008, the British Academy of Film and Television Arts has accurately predicted the Academy's top winners, with (even more impressively) only two discrepancies in Best Picture nominations throughout those five years (both in 2012, interestingly enough). Looking at this latest batch of BAFTA's chief nominees — which includes...
American Hustle,Captain Phillips,Gravity,Philomena,and 12 Years a Slave
— we're not especially surprised by any of the films included in as much as we are a bit displaced over the absence of one of this past year's biggest titles: The Wolf of Wall Street. By now, everyone with his ear close to the conversation is predicting that Steve McQueen's 12 Years a Slave is a lock for the Best Picture Oscar, but the consideration rarely comes without honorable mention of Martin Scorsese's Wolf. Still, the satirical picture is far from awards fodder. Called far too "extreme" for the Academy's liking, the 3-hour tour de force of mortifying hedonism would be a far cry from an Oscar even without the competition of 12 Years. Instead, as suggested by BAFTA's list of Best Picture nods, organizations are leaning towards the safer, sweeter, more palatable, less controversial, and effectively less good spiritual counterpart to Wolf of Wall Street: American Hustle.
Hustle is a fine movie all its own — it's fun, dynamic, well-acted, and does indeed feel "lived in." But it falls shy of the artistic reach represented by fellow con man epic Wolf, to which comparisons are inevitable (you can hear a terrific discussion on the matter on the latest episode of Fighting in the War Room). While we'd be hard pressed to deny David O. Russell's funny, campy, emotionally charged picture its due recognition of quality, the choice to nominate it for Best Picture over Wolf of Wall Street seems like a statement of fear: "We don't want to nominate that large, messy, outrageous picture that's got everybody all in a huff," mutters a nervous BAFTA. "But what about the one with the hair? That's sorta like Wolf of Wall Street, but cleaner. Jolly good!"
The choice is a scary one, if only that it suggests the possibility that BAFTA has veered away from Wolf of Wall Street due to the volatility associated with the movie rather than due to the quality therein. By this token, would a few more Armond Whites have robbed 12 Years a Slave of its nomination? How about a few more Neil deGrasse Tysons stealing the nod from Gravity?
Hopefully, the Academy will not emulate this aversion to Scorsese's movie — one that more than deserves mention, and would even take home a few trophies in a just system. Peruse the rest of BAFTA's nominations below (which also, obscenely, omit Her in the Original Screenplay category) and share your thoughts on the matter.
BEST FILM12 YEARS A SLAVE Anthony Katagas, Brad Pitt, Dede Gardner, Jeremy Kleiner, Steve McQueenAMERICAN HUSTLE Charles Roven, Richard Suckle, Megan Ellison, Jonathan GordonCAPTAIN PHILLIPS Scott Rudin, Dana Brunetti, Michael De LucaGRAVITY Alfonso Cuarón, David HeymanPHILOMENA Gabrielle Tana, Steve Coogan, Tracey Seaward
DIRECTOR12 YEARS A SLAVE Steve McQueenAMERICAN HUSTLE David O. RussellCAPTAIN PHILLIPS Paul GreengrassGRAVITY Alfonso CuarónTHE WOLF OF WALL STREET Martin Scorsese
ORIGINAL SCREENPLAYAMERICAN HUSTLE Eric Warren Singer, David O. RussellBLUE JASMINE Woody AllenGRAVITY Alfonso Cuarón, Jonás CuarónINSIDE LLEWYN DAVIS Joel Coen, Ethan CoenNEBRASKA Bob Nelson
ADAPTED SCREENPLAY12 YEARS A SLAVE John RidleyBEHIND THE CANDELABRA Richard LaGraveneseCAPTAIN PHILLIPS Billy RayPHILOMENA Steve Coogan, Jeff PopeTHE WOLF OF WALL STREET Terence Winter
LEADING ACTORBRUCE DERN NebraskaCHIWETEL EJIOFOR 12 Years a SlaveCHRISTIAN BALE American HustleLEONARDO DICAPRIO The Wolf of Wall StreetTOM HANKS Captain Phillips
LEADING ACTRESSAMY ADAMS American HustleCATE BLANCHETT Blue JasmineEMMA THOMPSON Saving Mr. BanksJUDI DENCH PhilomenaSANDRA BULLOCK Gravity
SUPPORTING ACTORBARKHAD ABDI Captain PhillipsBRADLEY COOPER American HustleDANIEL BRÜHL RushMATT DAMON Behind the CandelabraMICHAEL FASSBENDER 12 Years a Slave
SUPPORTING ACTRESSJENNIFER LAWRENCE American HustleJULIA ROBERTS August: Osage CountyLUPITA NYONG’O 12 Years a SlaveOPRAH WINFREY The ButlerSALLY HAWKINS Blue Jasmine
OUTSTANDING BRITISH FILMGRAVITY Alfonso Cuarón, David Heyman, Jonás CuarónMANDELA: LONG WALK TO FREEDOM Justin Chadwick, Anant Singh, David M. Thompson, William NicholsonPHILOMENA Stephen Frears, Gabrielle Tana, Steve Coogan, Tracey Seaward, Jeff PopeRUSH Ron Howard, Andrew Eaton, Peter MorganSAVING MR. BANKS John Lee Hancock, Alison Owen, Ian Collie, Philip Steuer, Kelly Marcel, Sue SmithTHE SELFISH GIANT: Clio Barnard, Tracy O’Riordan
OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCERCOLIN CARBERRY (Writer), GLENN PATTERSON (Writer) Good VibrationsKELLY MARCEL (Writer) Saving Mr. BanksKIERAN EVANS (Director/Writer) Kelly + VictorPAUL WRIGHT (Director/Writer), POLLY STOKES (Producer) For Those in PerilSCOTT GRAHAM (Director/Writer) Shell
FILM NOT IN THE ENGLISH LANGUAGETHE ACT OF KILLING Joshua Oppenheimer, Signe Byrge SørensenBLUE IS THE WARMEST COLOUR Abdellatif Kechiche, Brahim Chioua, Vincent MaravalTHE GREAT BEAUTY Paolo Sorrentino, Nicola Giuliano, Francesca CimaMETRO MANILA Sean Ellis, Mathilde CharpentierWADJDA Haifaa Al-Mansour, Gerhard Meixner, Roman Paul
DOCUMENTARYTHE ACT OF KILLING Joshua OppenheimerTHE ARMSTRONG LIE Alex GibneyBLACKFISH Gabriela CowperthwaiteTIM’S VERMEER Teller, Penn Jillette, Farley ZieglerWE STEAL SECRETS: THE STORY OF WIKILEAKS Alex GibneyANIMATED FILMDESPICABLE ME 2 Chris Renaud, Pierre CoffinFROZEN Chris Buck, Jennifer LeeMONSTERS UNIVERSITY Dan Scanlon
ORIGINAL MUSIC12 YEARS A SLAVE Hans ZimmerTHE BOOK THIEF John WilliamsCAPTAIN PHILLIPS Henry JackmanGRAVITY Steven PriceSAVING MR. BANKS Thomas Newman
CINEMATOGRAPHY12 YEARS A SLAVE Sean BobbittCAPTAIN PHILLIPS Barry AckroydGRAVITY Emmanuel LubezkiINSIDE LLEWYN DAVIS Bruno DelbonnelNEBRASKA Phedon Papamichael
EDITING12 YEARS A SLAVE Joe WalkerCAPTAIN PHILLIPS Christopher RouseGRAVITY Alfonso Cuarón, Mark SangerRUSH Dan Hanley, Mike HillTHE WOLF OF WALL STREET Thelma Schoonmaker
PRODUCTION DESIGN12 YEARS A SLAVE Adam Stockhausen, Alice BakerAMERICAN HUSTLE Judy Becker, Heather LoefflerBEHIND THE CANDELABRA Howard CummingsGRAVITY Andy Nicholson, Rosie Goodwin, Joanne WoodlardTHE GREAT GATSBY Catherine Martin, Beverley Dunn
COSTUME DESIGNAMERICAN HUSTLE Michael WilkinsonBEHIND THE CANDELABRA Ellen MirojnickTHE GREAT GATSBY Catherine MartinTHE INVISIBLE WOMAN Michael O’ConnorSAVING MR. BANKS Daniel Orlandi
MAKE UP & HAIRAMERICAN HUSTLE Evelyne Noraz, Lori McCoy-BellBEHIND THE CANDELABRA Kate Biscoe, Marie LarkinTHE BUTLER Debra Denson, Beverly Jo Pryor, Candace NealTHE GREAT GATSBY Maurizio Silvi, Kerry WarnTHE HOBBIT: THE DESOLATION OF SMAUG Peter Swords King, Richard Taylor, Rick Findlater
SOUNDALL IS LOST Richard Hymns, Steve Boeddeker, Brandon Proctor, Micah Bloomberg, Gillian ArthurCAPTAIN PHILLIPS Chris Burdon, Mark Taylor, Mike Prestwood Smith, Chris Munro, Oliver TarneyGRAVITY Glenn Freemantle, Skip Lievsay, Christopher Benstead, Niv Adiri, Chris MunroINSIDE LLEWYN DAVIS Peter F. Kurland, Skip Lievsay, Greg OrloffRUSH Danny Hambrook, Martin Steyer, Stefan Korte, Markus Stemler, Frank Kruse
SPECIAL VISUAL EFFECTSGRAVITY Tim Webber, Chris Lawrence, David Shirk, Neil Corbould, Nikki PennyTHE HOBBIT: THE DESOLATION OF SMAUG Joe Letteri, Eric Saindon, David Clayton, Eric ReynoldsIRON MAN 3 Bryan Grill, Christopher Townsend, Guy Williams, Dan SudickPACIFIC RIM Hal Hickel, John Knoll, Lindy De Quattro, Nigel SumnerSTAR TREK INTO DARKNESS Ben Grossmann, Burt Dalton, Patrick Tubach, Roger Guyett
BRITISH SHORT ANIMATIONEVERYTHING I CAN SEE FROM HERE Bjorn-Erik Aschim, Friederike Nicolaus, Sam TaylorI AM TOM MOODY Ainslie HendersonSLEEPING WITH THE FISHES James Walker, Sarah Woolner, Yousif Al-Khalifa
BRITISH SHORT FILMISLAND QUEEN Ben Mallaby, Nat LuurtsemaKEEPING UP WITH THE JONESES Megan Rubens, Michael Pearce, Selina LimORBIT EVER AFTER Chee-Lan Chan, Jamie Stone, Len RowlesROOM 8 James W. Griffiths, Sophie VennerSEA VIEW Anna Duffield, Jane Linfoot
Let’s get one thing straight: replicants within a film are way, way cool. The original Blade Runner fashioned a world few flicks have ever touched, with Ridley Scott’s vision of Philip K. Dick’s original dystopian tale still influencing directors some 30-plus years after its initial release. The icy cool robotic replicants that inhabited Ridley’s world – nearly indistinguishable from their human counterparts - are primarily the reason why. Thing is, now Scott is reportedly looking at replicating Blade Runner itself, with Harrison Ford on record saying the two have “been chatting about it.” Need a red flag why this shouldn’t happen? The script is now in the hands of Green Lantern writer Michael Green. Yes, that Green Lantern. Be afraid, film fans. Be very afraid. Here’s hoping this replicant has a built-in termination date well before its release, saving it a fate similar to these vastly inferior second stanzas to some really enjoyable opening installments.
Blues Brothers 2000 (1998)
When one of the two main actors of a film has already gone to that great gig in the sky, why bother making another installment ? It certainly wasn’t because the world was clamoring see John Goodman dance. Bad from note one.
Exorcist II: The Heretic (1977)
A film so horrid it reportedly prompted angry audience members to chase studio execs down the street after viewing it for mere minutes, Exorcist II is lesser-than its original in every way. Maybe the devil made them do it.
Tron: Legacy (2000)
Want a glimpse what Blade Runner 2 might look like? See Tron: Legacy. Better technology isn’t worth a flying disc if the story isn’t there. This sequel should have titled Tron: Lethargy. Total snoozefest.
Escape from L.A. (1996)
In therapy, many a session was spent trying to help me forget the vision of badass Snake Plissken surfing with Peter Fonda. Man. Why did I have to bring this up again? Booking another appointment . . . now.
The Texas Chainsaw Massacre 2 (1986)
Why, Tobe, why?! You can almost forgive a studio for cranking up the sequel machine for pure monetary reasons. When the original director undertakes said assignment (and fails as miserably as this) however, it’s unforgiveable. A massacre indeed, just not the one intended.
Harrison Ford is reportedly in talks to reprise his Rick Deckard character for a Blade Runner sequel. The 1992 movie gave its leading man a huge career boost and became a cult favourite, and now director Ridley Scott is keen to revisit the film that was inspired by a Philip K. Dick short story - and Ford is interested in a return to sci-fi.
Promoting his new film Ender's Game in London, Ford has revealed he has been in contact with Scott, telling IGN.com, "We've been chatting about it."
In the film, Ford played a futuristic bounty hunter hired to track down rogue robots.
He adds, "I truly admire Ridley as a man and as a director, and I would be very happy to engage again with him in the further telling of this story."
Boasting the likes of Philip Seymour Hoffman, Tom Hardy, Noomi Rapace, and Gary Oldman, the cast of Child 44 is already quite impressive, and now it's about to become even more so. According to The Hollywood Reporter, Jason Clarke is in talks to sign on to the Soviet-era thriller. The Zero Dark Thirty star has had quite a breakout year, appearing in Baz Luhrmann's adaptation of The Great Gatsby and this summer's blockbuster action White House Down. This Child 44 role promises to keep the buzz surrounding the actor alive.
Child 44 tells the story of a Soviet military policeman (played by Tom Hardy, beside whom Clarke starred in Lawless) who investigates serial killer crimes after the government chooses to ignore a number of child murders. As he continues this work, however, the government begins to suspect that he is the culprit in question. The film is directed by Swedish filmmaker Daniel Espinosa, and producers include Ridley Scott and Michael Schaefer. Clarke is in talks to play a character named Brodsky, who is accused by Hardy of being a traitor.
Production on Child 44 began in June in Prague, and the film is slated for a late 2014 release.
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It is every movie’s aspiration to earn the title of “classic.” To leap beyond the reach of disparagement, to speak effectively to critics and audiences everywhere. But this is a pipe dream — all movies, no matter how celebrated, have their share of naysayers. There are plenty of people who think Citizen Kane is boring, who consider Jaws shallow and flimsy, who’d call 2001: A Space Odyssey a heap of nonsense. And throughout its three-decade lifespan, the seminal science fiction entry Blade Runner — in each of its many manifestations — has earned generations of enemies.
Since the endeavor to adapt Philip K. Dick's Do Androids Dream of Electric Sheep? to film was braved, Blade Runner has gone through a number of forms. The original product, as viewers will remember with a laugh, was weighted down by Harrison Ford's clunky, poorly scripted voiceover (an addition to the movie at the behest of the studio).
RELATED: Noomi Rapace Reveals Talks with Ridley Scott for 'Prometheus 2'?
It wasn't only Ford and director Ridley Scott who'd vocalize their distaste for this facet of the theatrical version of Blade Runner, but apparently — as newly revelaed by these acquried producers' notes from a 1981 screening of the film — executive producers Jerry Perenchio and Bud Yorkin... who also seemed to take issue with the music, the performances, the direction, and the very plot of the movie (not to mention the deficit of "tits" in the movie):
But the removal of this ill-conceived element in filmmaker Scott's 1991 Director's Cut release didn't quite solve the flick's problems for everyone, Scott included. It wasn't until 2007 that Scott was able to publicize his uninhibited creative construction of the film: The Final Cut, which was marked primarily by technical improvements on the previous incarnation.
RELATED: Harrison Ford to Return for 'Star Wars VII'
Through all of history's Blade Runners, new detractors have amounted, spotting flaws in every conceivable aspect of the movie. Checking out Blade Runner's Netflix page will give you an insight into the sort of animosity this movie has sparked.
And yet through it all, Scott's '82 sci-fi is still considered a "classic." I guess Hollywood is subscribing to high school rules: just because you're popular, that doesn't mean anybody actually likes you.
Follow Michael Arbeiter on Twitter @MichaelArbeiter
[Photo Credit: Warner Bros., Reddit, Netflix(3)]
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Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
This Friday, Prometheus — the sorta-prequel to returning director Ridley Scott’s own 1979 sci-fi masterpiece, Alien — invades theaters, with Michael Fassbender as the title ship’s butler and maintenance man, David, who just so happens to be an android (Fassbender has said that he modeled the motions and mannerisms of David after Olympic swimmer Greg Louganis rather than previous big-screen versions of the robotic human doppelgangers). It got us thinking about the movie androids that preceded him, er, it, and how far Hollywood has come in that department.
T-800, T-850, T-101 (Arnold Schwarzenegger), Terminator Movies
Super-human powers: Is an expert computer system at its (zillion) core; power source, er, lifespan of up to 120 years; vastly superior endoskeleton to that of humankind; self-healing.
Weaknesses: The human resistance; the noses of dogs; other Terminators (like Robert Patrick’s liquid-metal shape-shifting T-1000 in Terminator 2: Judgment Day).
Notes: We know, we know: Technically, Ahnuld’s Terminator is a cyborg, not a full-on android, but the difference between the two (some humanlike organic composition for the former vs. 100% robot for the latter) is negligible enough for us, for the purpose of this list, to mention Schwarzenegger — who himself may someday turn out to be the greatest android ever!
Lieutenant Commander Data (Brent Spiner), Star Trek Movies/TV Series
Superhuman powers: Positronic brain; immune to all biological diseases (except polywater); can be disassembled for easy storage; waterproof.
Weaknesses: Unable to dream; vulnerable to tech hazards and viruses; cannot swim.
Notes: Armed with nothing more than a pretty bad makeup job and his own (purposefully) robotic performance, Spiner was able to cement a spot in the hearts of many a techie and Trekkie during his lengthy tenure (TV’s Star Trek: The Next Generation and four Star Trek films) as Data. He also provided countless laughs over the years, of both the intentional and unintentional variety.
Replicants, Blade Runner
Superhuman powers: Superior strength, agility, and intelligence; fully programmable for any mission.
Weaknesses: Voight-Kampff tests; the term “skin-job”; four-year lifespan.
Notes: There will seemingly forever be a lack of clarity as to whether or not Harrison Ford’s Rick Deckard was himself a replicant, due to everything from the fact there are a whopping seven different versions of Blade Runner to his failure of the Voight-Kampff test. The key people involved in the movie are split on the issue, but for what it’s worth, Deckard was written as a human in the Philip K. Dick novel on which the big-screen version is based. The debate rages on, with full Web sites currently devoted to the topic!
SID 6.7 (Russell Crowe), Virtuosity
Super-human powers: Can be programmed with multiple, variable personalities, used advantageously (for evil); tons of RAM capacity; capable of regeneration.
Weaknesses: Denzel Washington; impalement.
Notes: Virtuosity remains something of a disaster cinematically, but the virtual reality-gone-murderous concept makes for quite a mindf***, even if the execution thereof doesn’t quite work. Plus, we’ll watch Denzel and Russell square off all day, any day!
Vanessa Kensington (Elizabeth Hurley), Austin Powers: International Man of Mystery
Superhuman powers: Super-humanly hot; skill with a Desert Eagle
Weaknesses: Vulnerable to Austin Powers’s “charms.”
Notes: Early on in Austin Powers: The Spy Who Shagged Me, Kensington self-destructs after malfunctioning related to a TV remote, and it is revealed that she was a fembot all along. She’s still the prettiest damned robot since Rosie on The Jetsons.
David (Haley Joel Osment), A.I.: Artificial Intelligence
Superhuman powers: Endless love; ability to not blink; great posture; undrownable.
Weaknesses: Can’t swim; sibling jealousy; has the emotions of a real boy.
Notes: Reaction to this Steven Spielberg-directed (and Stanley Kubrick-hatched) sci-fi drama remains mixed to this day, but there’s no denying that Osment was superb and believable as the main “humanoid,” to an almost disturbing degree — which was thanks more so to his astute interpretation of David than any effects wizardry.
Ash (Ian Holm), Alien (1979)
Bishop (Lance Henriksen), Aliens (1986)
Surrogates, Surrogates (2009)
Gunslinger (Yul Brenner), Westworld (1973)
The duo is reuniting to make a follow-up which will be set "some years after the first film concluded," according to a press release.
The statement went on to explain that Scott and Fancher had planned the initial film to be a trilogy, similar to the Star Wars franchise.
Bosses at production company Alcon Entertainment insist, "It is a perfect opportunity to reunite Ridley with Hampton on this new project, one in fact inspired by their own personal collaboration, a classic of cinema if there ever was one."
Fancher adapted the Philip K. Dick story Do Androids Dream of Electric Sheep? to make the 1982 cult hit starring Harrison Ford as an expert on artificial humans.