I reviewed the first RoboCop arcade game awhile back and intended to review the sequels, as well, but that task fell down the memory poop chute.
Anyway, while playing my RetroPie, I came across this and was then reminded of the task I failed at. So I immediately fired this one up and then realized, I had never actually played it, even way back in the day.
The action and mechanics are pretty close to the first arcade game, except you are able to move up and down the ground area and it’s not like your stuck walking on a rail.
The graphics and sound quality are about the same and the game is actually fairly quick if you’re pretty good at it. But the learning curb isn’t steep and playing this through MAME, you never run out of quarters.
My only real gripe is that the jumping and shooting combo you need to use on the harder bosses is kind of wonky and annoying. Also, the bonus stages are kind of cool but pointless and somewhat tedious. If you can get anything close to a perfect score, you are the greatest gamer that ever lived.
Overall, not a bad followup to the first RoboCop arcade game but I still like its predecessor a bit more.
Pairs well with: other side scrolling shooters and beat’em ups from the era.
From The Critical Drinker’s YouTube description: Since people have been asking me to review this film ever since I covered the 1982 original, I decided to oblige. Let’s take a look at Blade Runner 2049.
Also known as: Adventures In the Creep Zone (working title), Spacehunter (short title)
Release Date: May 20th, 1983
Directed by: Lamont Johnson
Written by: David Preston, Edith Rey, Daniel Goldberg, Len Blum, Stewart Harding, Jean LaFluer
Music by: Elmer Bernstein
Cast: Peter Strauss, Molly Ringwald, Ernie Hudson, Michael Ironside, Andrea Marcovicci
Delphi I Productions, Zone Productions, Columbia Pictures, 90 Minutes
“I lied, nobody goes free! Chemist, prepare the Fusion Tube!” – Overdog
For those of you that always wanted to see Molly Ringwald in a cyberpunk, almost comedy, space western, this is your movie!
For the rest of us, this is a forgettable relic lost to the sands of time but regardless of that, it’s still an enjoyable, mindless movie that’s sort of fun if you like ’80s sci-fi cheese and visually cool practical special effects.
I didn’t even know about this film until I stumbled across it while working in a video store. I fired it up in the store and thought it was pretty cool. I ended up taking it home and giving it a proper watch and found myself intrigued over the sets, the style and the more complicated effects like the villain’s body harness and cyborg appendages.
I also really loved the matte paintings and how well-crafted the larger world was for a film that had a pretty small budget.
In a lot of ways, this has a Mad Max vibe to it, as well, in its use of post-apocalyptic motor vehicles, as well as the characters’ style of dress.
Michael Ironside was the best part about the film, as his Overdog character was just a site to behold whenever he came onscreen. His costume was incredible and Ironside seemed to be really enjoying the role, hamming it up to the nth degree and putting in a performance that I can only assume eventually led to his villain role in the much more modern but very retro Turbo Kid.
Overall, there are much worse ways to spend 90 minutes. If you’re into campy sci-fi from the best decade for campy movies, you’ll probably like this weird, obscure flick.
Pairs well with: other campy and cool sci-fi films of the ’80s like The Ice Pirates, Cherry 2000, Battle Beyond the Stars, etc.
From Filmento’s YouTube description: 2017’s Denis Villeneueve cyberpunk film Blade Runner 2049 is a remarkable experience… but still ended up flopping in the box office and losing a big bunch of money. We’ve been talking about bad and mediocre box office flops recently like John Carter and The Lone Ranger, but today let’s look at the same topic from the other side of the fence — why a great movie ended up losing money. It’s not the biggest box office flop of all time but still. They have Villeneuve making Dune for Warner Bros now, so here’s a few things to keep in mind for that.
Also known as: Tetsuo (original title), The Ironman (alternative English title)
Release Date: June, 1989 (Italy – Fantafestival)
Directed by: Shinya Tsukamoto
Written by: Shinya Tsukamoto
Music by: Chu Ishikawa
Cast: Tomorowo Taguchi, Kei Fujiwara, Shinya Tsukamoto
Japan Home Video, K2 Spirit, Kaijyu Theater, 67 Minutes (cut down version), 69 Minutes, 77 Minutes (extended cut)
“Together, we can turn this fucking world to rust!” – Metals Fetishist
While there are some things I appreciate about this film, I actually hate it quite a bit.
It’s an absolute clusterfuck and while that’s what it set out to be, that doesn’t mean that putting the idea on celluloid is a good one.
This film looks like an industrial band’s music video from the late ’80s. And I’m not talking about a good industrial band on a major label, I’m talking about an unsigned band of college kids that have little to no talent that “borrowed” some film equipment for the weekend.
In fact, my only real experience in seeing any part of this film was when clips would be playing on screens in goth clubs in the late ’90s and early ’00s. In that setting with goth rock and industrial blaring through the club, it worked. As a film, not so much and in fact, not at all.
The only thing in this film I can really give props to is some of the special effects. While they’re not mind blowing by any stretch of the imagination, they are at least effective. The drill penis is a scary appendage no matter what side of it you’re on.
Apart from that, this is a shrill, spastic and seizure inducing fever dream. It’s really hard to watch and to digest, as none of it makes a lick of sense and it’s insane just for the hell of it because, you know… it’s fuckin’ art, maaan…
This is pretentious crap that gives films like Eraserhead some actual merit because at least there was something competent in that picture that allowed its director to grow into something better and more refined. Granted, I can’t say whether or not Shinya Tsukamoto actually got better, as I have no urge to delve deeper into his oeuvre after this unwatchable skull fuck.
If you have ever wanted to stare straight into the twitching eye of insanity while loaded up on a cocktail of uppers and hallucinogenics, than this might be your movie. But if it is, stay the fuck away from me, please.
Pairs well with: industrial music videos by bands that never got signed, as well as Japanese surrealist gore flicks.