Unicom is a powerful organization overseeing most of the world after its economic collapse. They have banned computers and robots in an attempt to insure "life, liberty, and the pursuit of ... See full summary »
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Mel Johnson Jr.
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Unicom is a powerful organization overseeing most of the world after its economic collapse. They have banned computers and robots in an attempt to insure "life, liberty, and the pursuit of economic stability". When a Unicom Synth robot infiltrates a southwest TV station and kills the manager, a revolutionary against the gestapo-like corporation, a lowly Unicom delivery man must help the rest of the station survive through the incoming "thermal storm". Written by
Michael Silva <firstname.lastname@example.org>
The two hookers were also drug users in an earlier draft of the script. However, Charles Band requested that this aspect of the screenplay be toned down because he thought the hookers as initially conceived were too vulgar and over the top. See more »
Reflected in the window behind Quinn when Winston is looking for Arren in the dark. See more »
At least it doesn't live up to its title, which is a good thing. Crash and burnnnnnn. On the other hand it might have been more exciting if it did. I don't know, but I remember liking this straight-to-video b-grade action / Sci-fi fare by Charles Band when I saw it for the first time many moons ago, but upon my recent re-watch I was left slightly under whelmed. Boy did it take awhile for something remotely riveting to occur. My excitement early on arose from catching a glimpse of a movie poster of "The Angry Red Planet" on the wall. Not once, but twice. Outside a pouting Megan Ward and Jack McGee (in a truly offensive mood), everyone else acts robotic. Is this to throw us off ? I don't think so. Bill Moseley is the life of the party as what starts off as uncharacteristic (in a slumber mood) later on has you thinking now I'm watching Moseley perform. Paul Ganus is your typical handsome, but stoic lead who catches the eyes of the ladies (young and old). He doesn't do much at first, other than look serious. All in a good days work. Actually I guess sex was on mind. Nothing else. Nothing more. As after getting that out of the way (about mid-way through the movie), while lying in bed (for about 10 seconds) his character was thinking straight (well its either that or he's considerably slow off the blocks) and it came to him that something wasn't quite right (during a "heart-pounding" test set-up to find out if everyone trapped in this remote TV station was who they said they were). Now that he knows who the evil corporate Sythnoid robot in disguise is. Although we the audience (and Ward) have already figured that out long ago. It's time to be a hero. Jump out of bed, break the emergency glass and grab the shotgun. Then get pummelled and shot. Talk about an effective hero. However this is when things do liven up. Nasty jolts, stupid one-liners, robots going haywire and Ward making everyone around her look like dummies. "Hey, kiss this!". Director Charles Band does an economical job with J.S Cardone's material and recycles Richard Band's music talents. Visually is works cementing a futuristic wasteland, as the setting is taut and the paranoid unease is felt. In the dying stages you can see where most of the money went to and the effects of the battery powered tinbot put those recent CGI drenched transformers films to shame. Mildly amusing low-rent Full Moon fodder.
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