Overview: Cyborg 2, we are led to believe is a sequel to Pyun’s Cyborg. I say this because right at the beginning, a cut scene of the cyborg in the first movie is shown. But quickly we learn that this is only shown because Cyborg 2 didn’t have the budget to make low quality cyborg FX. In fact, Cyborg 2 has NOTHING to do with the first more. In the first movie, cyborgs were human brains encased in a cybernetic body. In Cyborg 2, cyborgs are robots. Furthermore, in Cyborg, we found a lawless dystopia, yet in Cyborg 2, we find a battle of two mega-corporations.

The Story: OK, the story is just hoaky, but unlike Pyun’s Cyborg, at least it holds together once you give up on the absurdity of it. In Cyborg 2, the Pinhole corporation has decided to kill off the management of the rival cyborg corporation by embedding one of their androids (called cyborgs) with a special chemical, that, upon orgasm (yes, I guess androids in the future not only have sex, they orgasm!), blows up the chick and everything around it! It turns out they can also use a detonator switch to do explode the androids. So the idea is they will send a hot android chick (played by Angelina Jolie in her debut starring role) to visit a party at the rival corporation and explode! Why don’t they just set off a regular bomb there, you ask? Good question! If there’s an answer, we aren’t given it.

Cash, the hot, sentient android chick (Angelina Jolie), gets word of her new implant by a disembodied mouth (Jack Palance) who tells her Pinwheel’s plan for her demise. She and her human lover, Colt (played by Elias Koteas) escape Pinwheel and attempt to escape to a place far off where free cyborgs live in peace with humans. Pinwheel corporation hires a crazed bounty hunter (Billy Drago) to go and retrieve Cash. The rest of the movie is comprised of bizarre chase and confrontation scenes, similar to the first movie, only this time the good guys are on the run.

The Bottom Line: Schroeder’s Cyborg 2 is not a good movie, but in comparing it with Pyun’s Cyborg, it does come out better storywise (it’s not as good on the fights though). Once you get past the absurdity of the story, things do start to hold together better. On top of this, we get an absolutely gorgeous, young Angelina Jolie kicking ass and even throwing in a nude scene for good measure. Billy Drago provides a memorable performance as a lunatic bad guy, and Palance, if you can get over the close-ups on his disembodied face, is pretty good to see for the brief time he’s on. I’d give this 4.5 stars if I had that available, but instead I’m bumping it up to 5 stars both for Angelina Jolie’s performance, and the thought they give to how cyborgs and humans could have a life-long love affair.

Overview: OK, so you have Jean-Claude Van Damme – a guy that can’t show any emotions other than staring intensely or screaming anger – but at least he’s an awesome fighter. So all you have to do is provide a simple, semi-coherent story that allows the guy to show his two emotions and then spend the rest of the movie kicking ass. Simple, right? Unfortunately, Pyun’s Cyborg fails miserably in the story department. From beginning to end, the rationale for key events are completely non-sensical, which leaves us a steaming pile of crap with pretty good fight scenes.

The Story: In a bizarre dystopic future that has ultimate anarchy next to people apparently trying to build little houses on the prairie, a modern version of the plague has devastated an already crippled society. But a cure has been found. And for some reason, these people in one location need to get the cure from another location before it can be used. So…the answer to make this happen is to take one of their hot chick key engineers named Pearl Prophet(played by Dayle Hadden) and TURN HER INTO A CYBORG!!! Why the fuck do they turn her into a cyborg in order to play courier, you ask? Does this make her impervious to attacks? No…in fact, she’s completely worthless as far as combat is concerned. In fact, absolutely NO reason is given for this transformation. We are left to assume that somehow, hard drives only work in the future if they are embedded in people’s bodies (there is a focus on her cybernetic eyes, so perhaps they want us to believe that optical cameras only work in the future if embedded in cyborg eyes). Nor do we find out why the cure will be lost if this cyborg chick dies (gee – if this is a Johnny Mnemonic type thing, can’t they just upload it in chick #2?). In any event, her guardian is killed by the “flesh pirates” and now she needs another body guard. It just turns out that Jean-Claude Van Damme, hero extraordinaire’s one happy family moment was crushed by the flesh pirates, so he’s more than happy to go to the rescue. And for some reason, he’s taken a straggler, Deborah Richter, for the ride.

The rest of the movie is a tracking/confrontation movie where Van Damme tracks down Vincent Klyn, leader of the flesh pirates and engages them in fight after fight. Not surprisingly, Van Damme initially gets his ass beat a few times before we get to the predictable ending. In keeping with the whole incoherence theme, in one scene Van Damme is crucified on a ship’s mast (with nails through the hands – the whole bit), but is fully healed by the next evening’s final showdown. Even worse, we find out from Pearl Prophet, the cyborg chick, that her homies back at the fort can kill the pirates anyways, so we are left wondering why Van Damme even bothers.

The Bottom Line: The whole goal of the movie was to get Van Damme going at it with buff surfer Vincent Klyn. Why they even bothered to add a cyborg to this is beyond me, as it simply doesn’t fit with the story. Who knows, maybe this was the only thing they had available in their limited FX bag. Well, cool, why not spend the 20 minutes it takes to actually write a rationale for the cyborg’s inclusion? In short, this film was never going to be great, but with a little amount of coherence, it could have been decent. I do give one star extra for the fight scenes, which gives Cyborg 4 stars.

Overview: Overview: Sometimes we find movies are able to rise above truly absurd stories and transform movies that had no business being watchable into something enjoyable. This is what we find with Virtuosity. Virtuosity has a story with is barely bothers to try to hold together, but yields memorable performances by all the major leads. The pacing is at least fast enough that its possible that some unsuspecting viewers might not notice some of the absurdities presented.

The Story: In the near future, Crowe plays SID 6.7, a virtual reality (VR) composite of 200 personalities, each and every one a killer. His purpose is to serve as the key bad guy in a new police officer training simulation. To test the simulation the corporation uses former cops – now criminals – to test the hyper-real VR training system. Former Lt. Parker Barnes, convicted for killing a mass murderer (and some bystanders) who murdered his family is one of the lucky ginea pigs. After entering the simulation, all is not as is seems, as SID 6.7, who has grown sentient, has modified the safety controls to allow him to actually kill the test subjects. Barnes’ partner is killed and Barnes barely escapes the Simulation.

After the corporation decides to shut the project down, Dr. Lindenmeyer (played by Stephen Spinella), SID 6.7’s creator finds a way to save SID 6.7. It just so happens that another scientist in the corporation has just completed a nano-android – the first of its kind – and is now wondering how to embed it with sentience (yes, they really expect us to buy this – companies always have magical projects just hanging around that anyone can get access to!). Lindenmeyer tricks the scientist into uploading Crowe’s program into the nano-droid, which serves to free SID 6.7 from his simulated cage.

It turns out that one of SID 6.7’s “dominant” personalities which he has been created by is none other than the murderer of Parker’s family. Parker is offered a pardon if he can capture or kill SID 6.7. Parker is joined by Dr. Madison Carter (Kelly Lynch), an expert on serial killers. From this point on, we get a police-serial killer chase movie with a good bit of cool nano-droid restoration visuals. The rationale for why the police can’t stop SID 6.7, or why Dr. Carter must join parker are both pretty weak. More interesting is the fact that the police never seem to bother showing up when SID 6.7 decides to kill people in front of massive crowds. But such is life – again, at least the leads all play this far more believable than this film has a write to be.

The Bottom Line: The VR visuals are decent, the acting is very good, but the story really doesn’t hold together. The worse part of the story is that the the nano-droid and VR sentience are essentially posed as magic. We get no explanation from the key cyberpunk aspects of this, such as how 200 real-life personalities from dead serial killers are embedded in a VR simulation, nor are we are given an explanation for how this incredible nano-droid is developed, or could be developed while not having a purpose. Still, Russell Crowe as a very memorable crazed villain and Denzel Washington both put in great performances, and are very well supported by Kelly Lynch, William Forsythe (a crusty police chief and Parker’s former boss) and William Fichtner (who plays a creepy corporate type). In short, they make the movie worth watching.

Overview: OK, so its not near future, but these kids have the glorified underground hacker thing down. In Hackers, every computer is networked and available for hacking. Hackers gives us a plethora of cool computer imagery cut scenes, 3D buildings serving as file share stores, and lots of underground punk visuals. These visuals are packed into a nicely paced movie that makes the outlandish story of high stakes theft, environmental destruction and hacker antiheroes fun to watch.

The Story: Hackers follows the life of a group of “Elite” hackers, who, through chance while playing a hacking game, uncover a plot within a large bank to contaminate the environment by blaming innocent hackers on messing up software that causes automated oil tankers to spill in order to cover up the theft of millions. The lead bad guy, code name “The Plague” (played by Fisher Stevens) is also a hacker, except that he has “sold his soul” to corporate life and serves as the lead security consultant. The struggle between the hackers and The Plague inevitably brings in the hapless police, who immediately are duped into arresting the hacker force.

While the larger “destroy the environment for personal and corporate greed” theme is going on, there is also intertwined teenage alienation and bonding themes. Most all the hackers are outcasts from “regular” society. The leads Jonny Lee Miller, who plays hacker “Crash Override,” and Angelina Jolie (Acid Burn) engage in a hacking contest, of which, the loser has to wear a dress on a date (Jolie never wears dresses).

The Hackers: Both Jonny Lee Miller and Angelina Jolie do a great job in playing slick, but semi-nerdish “Elite” hackers. They head up a cast of misfits, all of whom are consumed with breaking in to everywhere just to see if they can. Jesse Bradford, Matthew Lillard, Laurence Mason, and Renoly Santiago all give fun, memorable performances All the popularized hacker approaches are shown here, including social engineering, sifting through trash, and hackers thumbing their nose at authority. The notion of an “Elite,” which is someone in the top 5% of all hackers is given as the ultimate goal for all who aspire to be hackers. To be recognized as such, you have to have a high-profile hack in your history.

The Visuals: Hackers is more visually interesting due to all the creative hacking cut-scenes interspersed throughout the movie. They serve to glorify hacking, networked computers and the overall hacking lifestyle. Because staring at a computer while typing doesn’t yield exciting celluloid, this was a nice approach to keep things interesting. Unfortunately, it is completely absurd from a realism standpoint (especially the 3D knowledge stores), as hackers pretty much keep to source code and text prompts. Shots of the underground punk scene generally consist of flashes of neon colors in darkly lit, oddly shaped rave bars.

The Bottom Line: There are a bunch of the hacker movie types, but I find Hackers to be on of the most enjoyable to watch. This glorification of the hacker movement is charming, as are most of the hacker co-stars. Miller and Jolie have great chemistry, and make you really care about an otherwise absurd story. Again, don’t look for realism in Hackers, but enjoy it nonetheless.

Overview: If you’re looking for an off-beat, low-budget cyberpunk comedy, Tank Girl is your movie. Talk about a weird flick! Lori Petty finds her calling here as an anti-heroine called Tank Girl, a light spirited soul living in a dystopic near-future caused by a comet hitting the earth. The evil water and power company, lead by Kesslee (Malcolm McDowell) has gathered up all the remaining water sources on earth (it hasn’t rained in 11 years) and is hoarding water (now the most valuable commodity on earth) in order to maintain power over the rest of the surviving stragglers. Tank Girl, while riding around in a tank, leads the resistance made up of some of the most bizarre misfits against the evil water and power company. With Jet Girl (Naomi Watts) in tow, there is nothing they can’t do, but first they want to have some non-sequitur fun!

The Bottom Line: Truly, this movie is just strange. We get everything from bizarre, over-the-top scenes, to dances, to massive killing, all wrapped in truly odd dialogue. Tank Girl and Jet Girl make a terrific combination, but this movie is just not meant to be taken seriously. NOBODY takes the plot seriously - the entire cast knows how wierd this looks and continually seem to provide meta-comments to that effect. While this movie does drag in places, the cast is truly seems to be enjoying themselves, and in the process, they make Tank Girl enjoyable. I must confess - I’ve never seen the comic strip that Tank Girl is based off, but I can’t imagine it’s as zany as the the movie is. Again, this isn’t a great movie by any stretch, but it is pretty fun.

Overview: Ultraviolet is the ultimate example of style over substance. At every juncture, the goal is to create a futuristic music video piece more than it is to convey an interesting story. That said, some of the visuals are pretty damn cool! The pacing generally tries to stay fast enough to help the viewer forget about the plot holes, and even though the overall movie is predictable, you still find yourself smiling in spite of yourself and enjoying some of the way over-the-top fight scenes.

The Story: Ultraviolet takes place in the near-future, a time where terrorism is no longer the scourge of society – now it’s viruses. The worst virus is one that turns humans into Hemophages - this virus, created in a laboratory designed to create super-soldiers, is now air-borne, and has forced the population to take extreme precautions including wearing bird-flu virus masks at all times. Hemophages have vampire-like teeth and been genetically modified, giving them enhanced speed, incredible stamina and acute intelligence. Unfortunately, with these extra-human capabilities, they need blood to replenish themselves (this is barely mentioned in the movie), and their bodies slowly wasteaway.

To the government’s dismay, more and more of the population are being transformed, and, as a civil war looms, they have set out to rid the world of this new race that they now deem menaces to society. Violet, a former nurse at the facility, ended up losing her husband and unborn child when she accidentally contracted the virus. After being a live ginea-pig for the Medical control facility (who also control the new secret police force), Violet escapes and joins the underground Hemophage resistance in attempting to overthrow the medical control police, who are led by their Arch Cardinal, Daxus (played by Nick Chinlund) – and yes, the evil Christian symbolism is in full force here.

Although Violet has entered the last stages of her sickness, she is given one more mission – to capture the Medical Control’s latest weapon from their headquarter facility and either bring it back or destroy it. After some insane action and escape sequences, Violet succeeds, but discovers that the “weapon” is in fact a small boy named “six” (Cameron Bright). This boy supposedly has genetically altered blood that, if released in the atmosphere, will wipe out all hemophages forever. Her maternal instincts kick and, and she betrays the Hemophage resistance, and is no pursued by both the resistance and the police. The only one she can turn to is her trusted friend and genetic doctor, Garth (played by William Fichtner). But the boy is dying and all options appear hopeless. Because of this, Violet (and the audience) continually says, “What am I doing?”

The Action – Gun-kata is Back! Equilibrium fans will be happy to see Gun-kata return with a vengeance. Mila Jovovich generally looks terrific doing it – better than Christian Bale (her belly, which is always visible when kicking butt is definitely CUTE!). It’s clear that Mila has trained hard for the part, and looks good on both the gun and sword fight scenes. The problem though is that an unbelievable MI:2 feeling saturates the action scenes. Mila’s powers border on supernatural, and her nazi-like opponents make the OT Storm Troopers seem like special forces! They are ALWAYS flat-out incompetent in every way possible. Additionally, even though it looks cool, there is never a reason for the sword fights which becomes all the more apparent when, literally seconds later, people come in with Uzzis and spray bullets everywhere.

The FX: The FX in Ultraviolet are truly hit or miss. It appears as if pretty much the whole movie (or vast chunks of it) has been filmed on blue-green screens. This in itself is not a problem. The problem comes in that some scenes are rendered wonderfully while others come off as half done. It’s almost as if they ran out of money during the post-production phase and had to wrap up what they had and package it as best they could. This is a shame because the shots that are completed look wonderful. The attention paid to the colors palettes in virtually every seen is extraodinary. Sometimes I caught myself staring slack-jawed in enjoyment; yet others I was almost holding my nose in disgust.

The Soundtrack: From beginning to end, Ultraviolet plays like a music video. You get awesome action mixed with high-energy soundtracks. Sometimes you get the wasping highpitched chants, similar to Gladiator or MI:2, and for other scenes, we get bass-thumping, percussive tracks which help move the action along.

The Acting: Both Jovovich and Cameron Bright are serviceable. William Fichtner is decent for the little screentime he has, but Nick Chinlund is just sour. He has a constant snear, and his performance continually serves to solidify the already one-dimensional “evil bad guy” nature of his character. But truly, Wimmer just does not give his stars much to work from. Virtually the entire story is a sequence of visuals. While Jovovich seems to excel in this mode, keeping mostly believable facial expressions for the bulk of her acting, Chinlund pretty much sucks at it, and seems to struggle in finding the appropriate demeanor.

What’s Missing? The whole front end of the story for Ultraviolet seems to have been cut, and in its place, we get a synopsis similar to what we see on TV shows recapping episodes that related to the current episode (e.g., “Previously, on Lost….”). Truly, the amount of time it took you to read my two paragraphs above on the story equals the amount of time they devoted to the front-end exposition. It looks like a good 20 minutes or so was boiled down into a 2 minute quick-cut scene to allow us to jump into the action headfirst. But by doing so (again, I’d bet money that this stuff was shot, and furthermore, that we get it on an extended DVD), Ultraviolet significantly cheapens an already weak storyline. Any depth in the characters are lost. Additionally, some of the adds, the BMW adds in particular, really are a bit too overt.

The Gadgets: As weak as the story is, some of the gadgets in Ultraviolet are just awesome! They really do add a pretty fun dimension to the movie. They include things such as:

• Disposable Cell Phone Dispenser: I LOVE the idea of a disposable cell phone dispenser - cell phones are “wafer-thin” and bendable – you insert your credit card, and similar to a paper receipt, a cell phone sheet comes out with a certain number of minutes on it.
• Virtual Storage: Ultraviolet also has a believable looking D&D “Bag of Holding” that can be embedded in the body. I think the idea is that Nanotechnology allows the molecules to break down into some other substance, but can be put back-together into guns and swords.
• Multi-colored clothes: I fully expect this idea to take hold. Similar to the nano-couch in One Point O, clothes and hair in Ultraviolet can change color at will.
• Sunglasses: Yes, Ultraviolet WILL prompt sunglasses sales – bank on it! They are the symbol for “coolness” in movies now, and ultraviolet raises the bar here by making them multifunctional.
• HologramsThe holograms, used to making moving imitations of people, similar to those in Ghost in the Shell, are terrific. Wimmer creates some great “break-up” FX for them that really seem to add to their believability.

The Bottom Line: If you’re looking for cool style over substance, Ultraviolet is one to watch. But while some of the sequences in Ultraviolet are breathtaking, the movie as a whole is not a good one. What little story there is seems to have been lost in editing. Still, some of the visuals are pretty cool, and may be reason enough for you to go watch this. If you’re a Jovovich fan, or want to see more cool Gun-kata scenes, you will enjoy Ultraviolet. But if you’re looking for a deeply textured cyberpunk story, look elsewhere. One point extra granted for the cool gadgets.

Overview: No movie has been more imitated in cyberpunk than the Terminator. While most of the imitations have been grade “B” shlock films, they attest to the intense effect that the Terminator had on our consciousness. This film is legendary, and easily ranks in the top 5 or 6 most influential cyberpunk films ever created (Blade Runner, Metropolis, Ghost in the Shell, and The Matrix being the other four, and Alien if you consider that cyberpunk). Terminator is a film with terrific replay value – so much so that I’m guessing all of you have seen it enough times that I don’t need to bore you with a plot overview. With a 6.4 million dollar production budget, this is far from a big-budget blockbuster. The reason it’s stood the test of time, and in fact comes across as a block buster, comes down to incredible execution by beginning film maker James Cameron and cast.

The Acting: From Schwarzenegger’s eery style of acting, to Linda Hamilton’s growth on screen from a shy teen to tough mother of mankind, to Michael Biehn’s tour-de-force performance from beginning to end, the leads flat out carry this movie. That said, the background characters are all terrific, including Bill Paxton at the beginning (“Fuck you, asshole!”), to Paul Winfield (Lieutenant Traxlet), Lance Henriksen (Detective Vukovich) and psychologist, Earl Boen. There are too many memorable scenes to relate here, but the real strength of the acting in this case comes more in expressions and setting mood than it does in delivering the lines, although Beihn’s narrative in particular is riviting.

Reece’s character does straight exposition to explain the story, which is usually a lousy delivery method. However, the mix of action and exposition just works. The dialogue was terrific, and Reece delivered it in the context of a high-tension chase. During this, Hamilton’s character literally transforms from a vulnerable, girl-next-door to a hard-edged, do-what’s-necessary, take charge kind of gritty leader. Their chemistry is terrific. They have a shy tension, that eventually turns into an intense, believable love affair. It’s kind of amazing that the studio originally wanted Arnold Schwarzenegger to play Reece. Schwarzenegger as the Terminator provides us one of the all time characters in all of scifi. He is the ultimate warrior android, and has been imitated far too many times to count.

The Pacing: The Terminator’s pacing is probably the most copied aspect of this film. The Terminator, from the very first scene to the very last is a chase movie. The tension goes from high to massively high to short breathers, back to massively high tension. You literally feel tired after watching this. While this doesn’t seem unusual now, back in the early 80s, The Terminator took the hectic fast pacing of Raiders of the Lost Ark and adapted it to a full scale chase flick. The real magic here was Cameron’s ability to embed a fascinating story into the chase, while changing the bad guy from human to robot to basically add a completely new feeling to the chase.

The FX: For the budget, Terminator’s FX far exceeded anything that should have been possible. The Endoskeleton, made up of miniatures, models and stop-motion animation, is now part of movie lore. The car chase scenes still look terrific, as do the explosions. The near-future dystopic scenes are completely riveting, especially the flying HKs! However, a few of the model shots of Arnold do look slightly dated now (most noticeably when Arnold takes out his eye).

The Score: Brad Fiedel’s percussive, driving beat that creates an industrial masterpiece that absolutely nails the feeling of The Terminator. You can still here the “dun-dun dun dun-dun” beat and IMMEDIATELY get teleported back to that sense ominous doom of the future that the Terminator portends.

Time Travel: The Terminator provides us one of the best time travel movies in cinema. It’s intelligently done in a coherent way that really sets the picture moving. But the real majesty is in the photograph (see above). I LOVE the picture and everything it represents. There, in that one image, we get the entire love affair of Sarah and Reece, John’s struggle relating to someone he knows to be his father (but who cannot know in return), Sarah’s future journey, and a wonderful mind fuck to boot! The placement of the time travel elements at the beginning and ending of the story really do add impact to its meaning.

Guerilla Filmaking: In watching the most awesome extras on special edition DVD, it’s clear that the Terminator was way over-ambitious (thank God!). In post-production, it was clear to Cameron that a number of additional unfunded scenes were needed in order to make a complete picture. Cameron used his weekly director’s pay to pay skeleton crews to go out and do additional shots – often which used incredibly low-end effects. For instance, the body bag used at the end was actually Cameron’s suit bag. The scene at the beginning where Arnold breaks into the station wagon was filmed with just him and Cameron, worrying about the police seeing them as Arnold breaks the car window (Arnold’s clothes for the scene were in his trunk – he had to change in the car!). More incredibly, the last shot of the Terminator, where the red eye slowly fades, was shot later – the smoke you see there was someone breathing cigarette smoke on the eye! In short, everyone gave blood, sweat and tears to make sure this film looked as good as it did.

The Bottom Line: The mood, energy and intensity of The Terminator oozes from every pore of the first shot to the last. If you are one of the very few who has not experienced this movie, you’re in for a treat! If you’ve seen it before (many times even), chances are you’ll be seeing it again. The Terminator definitely deserves a place of honor in the pantheon of cyberpunk flicks. One problem this film does give from a categorization perspective - they call the Terminator a cyborg, but he is really an android (even Cameron calls him this on the extras). The definition of a cyborg implies an augmented human, not an android covered with human tissue. I give it 9 stars as a movie, but add an additional star for its overall impact on film making.

Terminator Page 2: More Screencaps–>>

Overview: Colossus - The Forbin Project is one of the really intelligent early “AI computers taking over mankind” stories. While the graphics are completely non-cyberpunk, the story certainly has enough to qualify as a pre-cyberpunk flick. On top of this, Colossus is well acted throughout, and the pacing is such that you stay riveted to the story. Eric Braeden (Professor Forbin) and Susan Clark (Dr. Cleo Markham) are especially good together.

Colossus - The Forbin Project takes place in the 50s during the height of the cold war. Dr. Charles Forbin, a genius scientist who has lost trust in humanity’s ability to logically address emotional issues, has developed a very special computer to perform the Strategic Air Command and Control functions for the military. This computer, code named Colossus, is developed based on incredible advances in Artificial Intelligence, and has a logical process for determining when to launch the ICBMs. With much fanfare, the President of the US “turns on” Colossus to take over responsibility for the US nuclear armament.

Unfortunately, shortly after being turned on, Colossus learns the presence of another AI command and control system. It turns out that the Soviet Union, independently has developed their own system call the Guardian. Both computers “insist” that they be linked to ensure no attacks will take place. After taking appropriate precautions, both countries let the computers link up with one another.

Things begin to go downhill when Professor Forbin realizes that the rate of learning for the machines is increasing at an exponential rate – he recommends detaching the connection between the two computers. When they attempt to do this, both computers threaten an immediate launch of nuclear weapons. Quickly, the government’s realize their situation – the machines are now in power. Worse, they proceed to take complete control of human society.

The Bottom Line: As you can see by the screencaps, there’s nothing too exciting here from a visual standpoint. However, from a thematic standpoint, Colossus – The Forbin Project deals with modern society’s desire to fully remove emotion from all decision making. In doing this, Professor Forbin gets his wish, and it turns out to be a never ending nightmare. Colossus is Skynet without the cool robot helpers. In Colossus – The Forbin Project, Colossus is here to help whether we want it to or not. While the movie is very well done, one point is taken away from the review for the Pan and scan on the 2:35 to 1 widescreen movie - it truly does destroy the cinematography.