The simple premise: A killer android (played by Arnold Schwarzenegger) is sent back to 1984 to assassinate the mother (Linda Hamilton) of a resistance leader of the future. A soldier of that resistance (Michael Biehn) is also sent back to protect her from harm, but the killer android is virtually unstoppable in its mission. This classic science fiction/action/horror/thriller represents the best in all of those genres that the 1980s has to offer. James Cameron put his name on the map with this action masterpiece.
Monthly Archives: April 2019
Hands of Steel is an Italian-produced film obviously influenced by James Cameron’s The Terminator if combined with the basic plot of First Blood. Set in the near future, we find a beefy thug (Daniel Greene) has been brainwashed by the evil head of a pollution-spewing corporation called the Turner Foundation, headed by John Saxon’s Francis Turner, we soon learn, to assassinate a popular ecological guru leading an environmental movement that is set to make major radical changes to the drastically worsening country. But he’s no ordinary thug; Paco Queruak is a war veteran that was left for dead before getting his body used for a radical cyborg assassin experiment, rendering him with an electronic mind and a body of hardened steel, underneath his very human-like exterior. However, at the last second, his human side begins to question what he’s doing, leaving him on the run from the organization that made him in order to hide their tracks. Paco goes on the lam to his old stomping grounds in Arizona, where he meets a lovely motel and bar owner named Linda who offers him room and board in exchange for doing some chores around the property. Meanwhile, he engages the locals in arm wrestling contests he can easily best them in. Meanwhile, he’s being pursued by a world-class hitman, and also the FBI.
In the future, New York, after the dreaded nuclear holocaust, is a wasteland of lawlessness and gangland thuggery. Jean-Claude Van Damme plays a skilled martial arts warrior named Gibson Rickenbacker, a “slinger”(aka, a mercenary for hire helping refugees), who fights for and rescues a woman named Pearl Prophet from a horde of marauders. It turns out that the woman is a woman no longer, but rather, a cyborg transformed in order to gather information and transport it to Atlanta in the hope of turning the tide on the widespread plague that has threatened humanity with extinction. However, the leader of the marauders is the fearsome psychopath, Fender Tremolo, a man who has history with Gibson and has ruined his life in the past. Fender steals her back because he wants the cure for himself, and it’s up to Gibson, along with his newly found tag-along Nady Simmons, to become Earth’s last hope.
RoboCop is set in near-future Detroit, where the city streets are just about completely dominated by the criminal element, while the police are neither respected nor welcome; they are virtually walking targets out there. Desperate to clean up the crime-ridden community and build a gleaming new one in its place, the government officials turn to OCP, Omni Consumer Products, to build and manufacture the future of law enforcement, robotic police that are more powerful and well-armed than anything anyone has ever seen. However, when the first prototypes prove inconsistent, the city officials balk at the idea, so an upstart faction within the OCP comes up with a newer, more “human” cop, a cyborg built using the remnant body of downed officer Alex Murphy (Peter Weller), and dubbed simply as “RoboCop”.Things proceed splendidly for the RoboCop program, that is, until the human side of the cyborg begins to recollect his past life as Murphy, plagued with flashbacks to the family he lost and the psychopathic criminals who all but ended his life as he knew it. Determined to bring the bad guys that did him in to justice, RoboCop sets out on a mission of his own, not realizing that the gang in question is actually in cahoots with a rogue entity within the OCP, who for all intents and purposes, also own the city, the police department, and the machine side of Murphy. Paul Verhoeven directs this scathing and potent satire on American commercialism and privatization.