A group of protesters who call themselves "mutants" have taken over the inner city streets of a large city. They dress weird to try and show the effects of toxic poisoning. One of the mutants, Splatter, has really been affected. A group of fraternity boys decide to go into the mutant territory and kidnap one of the mutants as a prank. They inadvertently get framed for the murder of the mutant leader and are hunted through the abandoned buildings and dark streets by a crazed Splatter and his gang.Written by
Josh Pasnak <firstname.lastname@example.org>
This film was shot all over Austin, Texas without any permits. See more »
When Splatter's head guard bursts in on the group near the end of the movie, he yells, "No, it's not over!" The next shot, you can hear him say, "...over," but his lips aren't moving. See more »
Splatter's evil laughter can be heard after the end credits. See more »
UK cinema and video versions (released as "Night Of The Alien") were cut by 2 mins 39 secs with edits to a neck break, the killing of Clint, bloody closeups during the stabbing of Splatter, a woman's body being caressed by Splatter, and the entire sequence between Splatter and the street girl. See more »
"Mad Max" meets "The Warriors" meets "Animal House".
The idea for this film must have looked good on paper. No wait. On second thought, there's no way it could have. Let's see what we have here: In an unspecified future, after some sort of non-descript social collapse has left the inner cities inhabited only by freaks, a group of frat boy jerks decides to play a hazing prank that involves them driving into the heart of the city where they are stranded and under attack by post-nuclear punks. Can they make it back to the suburbs? Who cares?
An intriguing, although unsuccessful, meshing of different ideas, "Future-Kill"'s biggest problem is that its various concepts don't gel. In fact the Troma-esque frat-boy comedy at the very beginning of the movie is so jarring (and gross) that it almost seems like part of a different film altogether. The rest of the flick follows suit.
Only high points: Seeing how many times you can spot the microphone boom in the camera shot, And the cool H.R. Giger cover art on the box, which incidently gives the illusion that this film has some class. It doesn't.
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