In a funkadelic future Los Angeles, a jaded ex-cop hunts down three androids designed to look human, and he isn’t too concerned about killing a human by “mistake.” Whoopsie.

Main Changes:
No V.O. - "Show, don't tell" philosophy (try to give more discovery of mysteries to the viewer) means no voiceover at all - not even the memory voiceover from Gaff as Deckard looks at the origami unicorn. The goal is to tell the story with the emotions of the characters instead of spoon-feeding info.

No Unicorn Dream - For me, the "Deckard is a replicant" question is more interesting as an open-ended question than the execution we got, so no unicorn dreams here. The audience today is much more aware of the tech and concepts of the movie than the average 80s viewer, so the movie keeps the original spirit but leaves more dots to connect for the modern viewer.

More Pollution - I love all the new higher Res releases of Blade Runner, but to me the better resolution removed a lot of the gitty pollution-like vibe to the world of Blade Runner. Here, the outside scenes are adjusted to feel dirtier, which also allowed me to insert upscaled footage of deleted scenes that hopefully stand out less.

No Dates - all references to the year dates are removed.

No "Trapped Rachael" Scene - I know I am going to get hate for this but there is one particualr part of this film which has not aged well. People like to say this movie is about replicants because of Roy Batty and crew, but simutaneously write off how utter fucked up Rachael's experience must be too, arguing that the scene is needed to show an aspect Deckards growth in regards how he treats replicants, how he fundamentally sees them.

Blade RUnner exusts in 5 versions The Theatrical Cut (117min), The International Version (117 min and a bit), The Director's Cut (116 min), The Final Cut (117 min) and The WorkPrint (113 min). This version tries to do two main things:
- include every frame from the Theatrical Cut, International Version, Directors Cut and Final cut
- add a handful of additional VO lines, correcting them for pitch and pace so they sound like Deckard

'The Penultimate Cut' is named because it's supposed to be one step back from 'The Final Cut'. Ridley Scott's final/ultimate version of 'Blade Runner' but how it used to look and feel.

This edit includes various visual and audio elements from all released versions of Blade Runner in an attempt to make it the best available presentation with a few narrative edits for personal preference. Most notable inclusions are the technical updates from The Final Cut, with the visual elements re-graded to match the legacy colour tones of the previous releases - and particular attention being paid to literally preserving the original portions of the legacy frames as well as grading the changes where masking was appropriate. The film's narrative follows more closely the Workprint and tacitly rejects Ridley Scott's attempts to render the human/replicant philosophical analogue as effectively superficial. This version takes out any connection to references made by Scott in interviews and indeed the Director's Cut relating to Deckard's origins. Instead this film is content to literally study/contrast the philosophical state of all the humanity on display or lack thereof from all participants.

This edit mixes the original 1982 Blade Runner with 2017's Blade Runner 2049, making one compelling movie (within a reasonable running time). The focus of the film is about replicant's ability to love and have children / create life. The film cuts between Deckard's investigations and Officer K's. Footage from the original Blade Runner will be presented in black and white, to differentiate between past and future scenes.

Blade Runner is a boring movie. Beautiful? Yes. But insanely boring. This is an attempt to pump new blood into this bore by replacing 95% of the droning score with classical music, removing slowly paced and unnecessary scenes, rearranging scenes for more narrative interest, modifying character motivations and focusing the cluttered thematic material. No slave commentary, no romance, no origami and no happy ending.

"Tears in the Rain" a vastly different version of the film which serves as an Alternate look at Ridley Scott's masterpiece, not an extension of the original. It focuses more on the Replicants and their quest to meet their maker. Rick Deckard is presented as a competent determined hunter and killer (unlike the relatively insecure counterpart in the original), in many ways an antagonist-- this is a world where Replicants are outlawed and killed on identification. They attack only when cornered, but mean no harm to humans. Not unless they can help it... This film is presented in high contrast black and white to accentuate the noir feel of the original. Trimmed down and fast paced, I hope this edit will intrigue, excite and entice fans of the original and new viewers alike.

This creates a more focused and streamlined version of BLADE RUNNER by removing any extraneous material. For all those, who always felt the original(s) ran far too long and moved far too slowly.

No voice-over. No unicorn. No Deckard is a replicant. This Nexus 6 cut combines footage from the Workprint, Theatrical, International, Director’s Cut and Final Cut into a new extended version designed to reflect the original intentions of the screenwriters (ie: No Deckard replicant)

This is another extended cut of Blade Runner, much like ADM’s version but with a few notable differences such as the opening sequence, the placement of the deleted cityscape establishing shots and the use of music cues. It also includes one deleted shot not present in ADM’s version.

This edit weaves back and forth between the International Cut, the Final Cut, and the deleted scenes to provide a more detailed telling of the tormented soul of Rick Deckard, Blade Runner (Retired). It comes with 4 different audio options to chooses from.