Overview: You think you might have seen every VR-based movie, or know what to expect after watching The Matrix or Lawnmower Man for the thousandth time. Then someone points you to some rare foreign TV miniseries, and suddenly… WHOA! The Matrix doesn’t seem so original anymore, at least in terms of concept.

Transmit ACK signal to “virtual reality 91″ for mentioning this one (just needed some time to research and download). World on a Wire is a two-part TV movie originally called Welt am Draht when it first premiered in West Germany. Since then, other VR movies short and long have come and gone. While still available via file-sharing and torrent, a recently restored version has been appearing at film festivals world wide and a Blu-Ray version is set to drop this month.

The Story: At The Institute for Kybernetik und Zukunftsforschung (Institute for Cybernetics and Future Sciences), or IKZ, Professor Henry Vollmer has created a simulated world containing some 8,000 “identity units”; Virtual humans not knowing that they are living in a simulation, except for the “contact unit” named Einstein who is needed to keep the simulation running. Vollmer tries to tell security chief Lause about a discovery regarding the simulation that he wants to keep secret “Because it would mean the end of this world.” Vollmer dies shortly after and Stiller takes over as the project’s technical director. At a party, Lause wants to tell Stiller what Vollmer had told him, but while Stiller is momentarily distracted Lause vanishes, and every one else suddenly has no memory of him, including Lause’s niece, Eva Vollmer. When one of the identity units tries to commit suicide it is deleted, prompting Stiller to “enter” the simulation to contact Einstein to find out why the unit tried to kill itself. When they meet again, Einstein is in Walfang’s body where he explains how he wants to be human… and how “reality” as Stiller knows it isn’t.

German Engineering. So the Simulacron computer system isn’t exactly 21st centruy, bleeding edge technology. This is a 1970’s era movie after all. So there’s no fancy gun-fu shootouts with CGI enhanced slow-motion effects, rotoscoped armor to guard against laser-edged Frisbees, or pixelated sex between Unix GUI daemons.

But Welt am Draht isn’t about fancy high tech special effects. It’s about one man’s reaction when he discovers the truth about reality… his reality, as he perceives it. We watch Stiller’s struggle to keep his sanity in a world that seems to be designed for the purpose of destroying him. A Kafkaesque nightmare encoded in silicon, and his attempt to escape it. And if he does escape, has he really escaped… or just entered a new level of the nightmare?

Mirror’s edge. The main effect of the movie, especially in part one, is a shot of an image in a mirror or similar reflective surface. This gives an extra disorienting feeling as we ponder if reality really is reality, and how do they manage to get all those mirror-shots without the film crew appearing in the reflections. Low tech, highly effective.

But unless you can speak German well enough, you might miss some of the mirror-shots while trying to read the subtitles. That’s the only thing keeping this from being a perfect 10. Then again, subtitles probably would be better than dubbing that comes out as “all your wiener schnitzel are belong to us.”

Conclusion: From the country that gave the world cruise and ballistic missiles, Fahrvergnügen, and Kraftwerk, Germany shows that they can come up with some inventive… and scary… technology. Welt am Draht is one of those rare pre-cyberpunk cyberpunk movies that needs to be seen to be believed. Especially when more recent films have aped the idea of VR with high-end graphic trickery, this one is enough proof that high-end does not mean high-quality.

Overview: In the first of many cyberpunk (hopefully) movies to come out in the next year or two, we see Wolverine (aka Hugh Jackman) trying his hand at some futuristic Robot Wars/BattleBots action. Make that Rock ‘Em Sock ‘Em Robots, as these machines are boxers as opposed to the spinners, flippers, etc. of the former TV programs.

The movie is based on Richard Matheson’s short story, but you will find it more closely mirrors another famous boxing movie.

The Story: Charlie Kenton used to be a prize fighter, but that was before fight fans wanted more violence and bloodshed leading to more extreme fighting like MMA and WWE wresting done for real. Before long, robots entered the arenas and forced humans out to the sidelines. It is now 2020 and Charlie is roaming the countryside with a beat-up rust-bucket robot called Ambush that gets destroyed by a bull in a county fair. He finds out his son’s mother died and he is to get custody, but wants the boy’s aunt to take him instead. He blackmails the woman’s rich husband to take Max when the couple return from Europe at the end of summer, and uses the money to buy a former world-champion robot. Charlie’s ego and inexperience with the robot’s voice-command system causes his new robot to be destroyed as well. While raiding an industrial junk yard for parts, Max finds a second generation sparring robot named Atom and believes he can be a champion fighter. Charlie is reluctant at first, but when Atom wins his first underground fight, he begins training it for bigger matches, including a World Robot Boxing title match with the champion, Zeus. All the while, he learns how to be a better father for Max.

Yo, Adrian! If you feel like you’ve seen this movie before, you must have have watched Sylvester Stallone in the original Rocky series. From IMDB’s Real Steel trivia section: You might recognize the moves in the championship fight coming from Rocky IV. The basic plot of Rocky is also present here. Even the champion robot’s name is an indirect reference.

All this similarity to Rocky has to make you wonder if Hollywood has run out of original ideas. Then again, Matheson’s short story has been turned into a Twilight Zone episode which in turn was parodied by The Simpsons.

On the ropes. Calling this movie cyberpunk wasn’t an easy decision. Themes like technology’s negative effect (the robots taking over a career path), man-machine fusion (the various robot controls, the autonomous Zeus), underground focus (the underground fight clubs), and the visuals are present. Themes of control over society and ubiquitous data access are not there, though a couple of times I felt like the all-mighty dollar was all that mattered to anyone. This might be the result of Levy’s decision to set the story in 2020 as opposed to further into the future:

“The whole reason it’s 2020 and not further in the future is because I knew this movie was going to be an underdog story and I didn’t want the distant futurism of extreme sci-fi. I wanted the world to feel really familiar, so that the characters would feel really relatable.”

Speaking of the characters, they do work for this movie. Of course, it’s the robots who steel… steal the show, but the estranged-father-son-trying-to-reconnect story should give the non-robotic a few laughs and tears.

Conclusion: If you’ve watched Sly’s work, you’ve already seen this. Boxing-movie fans might find this worth adding to their video collection. For cyberpunk fans, it’s not a complete knockout, but those unfamiliar with Rocky might give this underdog their decision.

Overview: Billed as a “Tribute to the cyberpunk genre,” Perspective gives us a rather unique… perspective… of a cyberpunked future, where VR is the drug of choice to escape the harsh reality of… well, reality. Mehmet Can Koçak shows us one person’s escape to a VR fantasy by not just following him with a camera, but with the person AS the camera as we look through the hobo’s eyes. It’s perfectly understandable if you suddenly feel like hunting shamblers, cyberdemons, or zombies with roast-turkey headgear…

We “watch” as the hobo purchases a cartridge from a shady dealer then heads into a wreck of a building where he jacks into his Commodore 64T…

… and dives into a fantasy encounter with a redhead girl. Until an apparent glitch causes more than a program crash.

There once was a girl named Alice… At a running length of only ten minutes, Perspective doesn’t have much time to present in-depth themes. The one main theme is the mirror; How we see ourselves in reality and fantasy, and how the two can suddenly become fused together to cause no end of confusion. Or as Friedrich Nietzsche put it, when you gaze long into an abyss the abyss also gazes into you.

Conclusion: Short-n-sweet. ‘Bout all I can really say. Koçak’s piece shows some potential for something more like, let’s say, a whole series of first-person movies; Short, interwoven films showing life in this future, and the viewer gets to choose what character’s eyes they would like to experience it. Might be a challenge to make, but it would a radical new way to “watch” movies.

Rust Valley - 35mm short. from RDolton on Vimeo.

Overview: Our forum member Burnt Lombard brought this net short to my attention earlier this week. Actually, I had a bookmark to it on Vimeo for a while, but that version is now password locked. More recently, I seen the trailer for it on Kovac’s screener of UCF: Abstract Messiah. Now that I’ve invested the 17.5 minutes to watch, I got to give Lombard his creds for getting me to watch. Imagine, if you will, a little of what a live-action System Shock movie could be like…

The Story: ASEMS pilot James Donner has spent the past 1000+ days (3 years) in space and is now on his way home for some hard-earned R-and-R. Then he gets a call from some corporate dick:

So much for vay-kay. Against his better judgement, Donner boards the colony when he hears a female survivor, Ora, over his radio.

When Donner finds Ora, that when he has to make a choice…

But, is it cyberpunk? Rust Valley has been tagged as cyberpunk on Vimeo, and it does make its case well. We have the ASEMS corp, though the full extent of their power and influence wasn’t revealed. There’s a bit of man-machine fusion (won’t say where due to spoiler possibility). But it’s the visuals that makes the short cyberpunk. Let’s just say that there’s a reason why it’s called RUST Valley.

The audience is now deaf. Being an amateur production, and shot on 35mm film, some technical glitches are expected. But when you have to turn up the volume to hear the monitor voices, you might want to consider amplifying the microphones for the monitor actors.

UPDATE: Burnt Lombard has uploaded the official video on Vimeo, with improved audio. It’s a bit different in other ways as well, but with the improved audio I’ve decided to upgrade its rating to 7.

Conclusion: While not the most polished production, this short still manages to make for good cyberpunk viewing. And for a bonus, there’s an alternate ending that was supposed to be the original ending. This could make for a good feature… just pray that it doesn’t become the next Snakes On A Plane.

Overview: Our resident Cecil B. DeMille, Lazlo Kovacs, and his pals at Key Pixel have brought us the follow-up to the short underground fave UCF: Toronto Cybercide. The second chapter, Abstract Messiah, continues the story of Toronto’s rebuilding struggles as a new enemy come to the forefront determined to stop the cyborgs.

Kovacs said that the movie was about 98% complete and wanted to send a screener to preview. From what I’ve seen, it looks fairly ready for prime-time. Like many low-budget films, there are some issues to deal with, but they’re easy to overlook as long as you’re not expecting Blade Runner-quality fare.

The Story: Pax is called back to Toronto to retrieve the body of his former partner, and gets to meet up with his UCF mentor, a history professor. The professor is reported as kidnapped when he misses an appointment. Pax and company are called in to investigate when a member of the Luddites is considered the prime suspect. The investigation leads the UCF team to a prison for cyborgs where the Luddites plan to use the inmates in their ultimate plan; To use retrieve the nanotechnology in Pax’s deceased partner.

The game. A recurring theme is the chess game; Specifically, how the action is equivalent to moves and counter-moves on a chess board.

If that’s true then Equilibrium’s gun-fu scenes should be considered hands of Texas Hold-Em.

Seriously, every action movie would like to be compared to chess; That all the gun-play and violence has some intellectual reason and not just eye candy. For Abstract Messiah, they take the comparison to a new level starting with a real chess match between Pax and his Foundation mentor.

Such back and forth banter isn’t uncommon in action movies, as each side tries to impart their vision to the other. But when the two are bitter rivals, diametrical opposites of each other, that’s when the chess game quickly becomes an NBA-style trash talk fest, right before everyone STFU and lets their guns speak for them. Fortunately, Abstract Messiah doesn’t get to the trash-talk even though Crom does come off as the right-wingnut zealot type (nicely played). In fact, I keep getting this feeling that this movie is just one minor move in a much larger game.

Knuckle dusted. If there was a major problem with Abstract Messiah, it was the fight scenes. The fisticuffs weren’t all that convincing, but when a limited budget limits the use of professional stunt people you just have to use what you got and keep them safe for a possible part three.

Conclusion: Since the original UCF short was released back in ‘06 there was a call for more of the Luddites. This should satisfy them for a good 80 minutes as the Luddites are now front and center.

Everyone should consider getting Abstract Messiah even if just to support indie movie makers like Key Pixel. Even with amateurish production on a shoe-string budget they still manage to make a movie that’s more watchable than what some major distributors with trillion-dollar purses have been cranking out lately.

One has to wonder what UCF 3 would be like, especially if they get a larger budget. Dare to dream… until Kovacs sends a PM saying he has a screener ready to preview.

Overview: Tokyo Gore Police is a “Japanese Cyberpunk” splatter movie created by the producers of “The Machine Girl”. The movie is a remake of the independent movie “Anatomia Extinction”. Currently, a prequel short for the movie is in production.

Plot: In the future, the privatized police, under control of the “Tokyo Police Corporation” has developed an extremely brutal, merciless law and order type way of action.
The whole society developed into a sadistic, pervert society with an obsession of violence.

Ruka is the daughter of a policeman who was assassinated in a very brutal way before the police was privatized. Because Ruka saw the assassination of her father, she was traumatized and developed self harming behavior. After the death of her father, she was adopted and raised by the chief officer of the Police Corporation.

Later, an outbreak of a virus causes the infected people to mutate into bizarre monsters. The virus was created by a mad scientist to take revenge on the death of his father by the police. Later, it’s revealed that the father of the mad scientist is actually the murderer of Ruka’s father and the reason for the assassination was actually a conspiracy within the police, where the chief officer of the new Police Corporation has got a key role.

After most mutants were killed by Ruka, the police start a Purge like action where also seemingly randomly civilians get hunted. Among the murdered civilians is also a close friend of Ruka. Because of this and the involvement of her foster father in the assassination of her biological father, Ruka gets mad and starts mutating, too. She fights the policemen and then encounters her foster father. Her father, who started mutating, too and using injections of the virus to get more powerfull starts fighting against his foster daughter.

The story of the film is full of sick moments and extremely brutal scenes. For example, a mutant is a prostitute who eats her customers. There is also a huge amount of psycho-sexual horror, like in the works of H.R.Giger and most other “Japanese Cyberpunk movies”, but some scenes are more funny than scary.

The movie has got a huge amount of black humorous moments. For example, like in the Robocop movies, in the movie, there are certain fake commercial scenes advertising very sick things or speaking funny warnings. For example, knifes for self cutting are advertised in an extremely sick way and there is a television warning that committing Hara-kiri will result in your death. The chief officer of the police also has got a kind of “Cyborg Dog” who looks like a BDSM Costume.

The depiction of the police in the movie is also the clichéd “ultra violent law and order” policemen type which often appear in Cyberpunk works. The most famous ones are Robocop and Judge Dredd.
I agree with the Review on DVD Times.com , the film definitely reminds on Blade Runner, but it mostly lacks the brilliant atmosphere of Blade Runner. Only the driving scene through the streets of Tokyo and the Bar Scene catch a similar, brilliant atmosphere.

The opening scene, where at first, all is peacefull, but suddenly, Rukas father is killed in a very brutal way was one of the best depictions of the concept of “the Real” by the psychologist Jacques Lacan, a kind of traumatic, unexplainable event suddenly appearing which is threatening the function of the mind, I have ever seen.

On most parts, the movie is extremely entertaining, but I don’t understand these “police purge” scenes near the end of the movie and to me, these scenes doesn’t really make sense. The story of the movie isn’t very intellectual, but it’s a good satire on the actions of these populist law and order politicians. The story is also more complex than these Japanese Cyberpunk movies starring Dr.Joseph Mengele like Mad Scientists performing cruel experiments.

Conclusion: Tokyo Gore Police is a truly sick brutal movie like most Japanese cyberpunk films. The story is also not very original and is mostly extremely thin. Nevertheless, it’s still an entertaining satire which can’t be taken seriously. Like all “Japanese Cyberpunk movies”, if you have got problems with violence, you won’t like this movie. Most of the horror scenes aren’t as scary as the horror scenes of the movies Yu On and The Ring, although these movies are less brutal.

Overview: With the upcoming anniversary of 9/11, one has to wonder how far our security-surveillance panopticon prison planet has come. Britons have seen a rise in the Orwellian nightmare, while Americans have had something of a reprieve from the “Patriot” Act, although other forces may be taking over that role. Eyeborgs breeds 1984 with The Matrix to create a new form of high-tech overlord scenario.

I probably would have missed this one if it wasn’t for my DVD club. While the “borgs” of Eyeborgs caught my initial attention, the description of the story is what sold me on it. After watching it, I was glad I had a chance to see it, even if it was direct-to-video. While not up to Terminator or Robocop standards, this is one of the better movies to come down the wires in some time.

The Story: The on-going threat of terrorism has led to the adoption of the “Freedom of Observation” act. This gives the Department of Homeland Security new weapons in their surveillance of US citizens. Among them are the “Eyeborgs,” cameras with robotic legs that allow them to move around. Coordinating them, and the millions of already existing stationary cameras, is the Optical Defense Intelligent Network… “O.D.I.N.” for short.

DHS agent R.J. “Gunner” Reynolds (Paul) is observing a gun sale to a possible terrorist whose targeting President Hewes. The person gets away, but is later caught when eyeborgs see his bike at a punk show where the President’s nephew, Jarett, is playing with his band. The person is captured for targeting Jarett and interrogated at a DHS office. Leaving the man alone for a few minutes, he manages to escape when the eyeborgs in the room attack him. He dies later when the eyeborgs force him over a railing and causing him to fall six stories to his death. It was determined via surveillance cameras that Reynolds left the door unlocked allowing the man to escape, but Reynolds did lock the door. He begins questioning the integrity of O.D.I.N. as other people involved with the investigation die in mysterious ways while the eyeborgs give a very different version of the truth.

O Say Can You See? Just when you the plot is pretty much cut-and-dried, the big twist comes when Reynolds tries to get Jarett from the Presidential Debate. That’s when Reynolds, and the viewers, figure out what the truth is. O.D.I.N. has been manipulating reality, or whoever is manipulating O.D.I.N. to manipulate reality, for their own end.

For the most part the movies works well, but you might see a problem with some of the eyeborgs late in the movie. The colors reflecting from the machines feel “off,” and some of the eyeborgs appear to be two-dimensional sprites instead of 3D during the rescue scene. Probably a result of being rushed to video.

Conclusion: Given the current state of terrorism-generated paranoia, Eyeborgs seems like just the ticket to stoke those tin-foil hat fires. While it may have avoided theatrical release (and competition from Iron Man 2), it shouldn’t be left out of your home video collection, especially with recent disappointments from Hollywood.