In a future mind-controlling game, death row convicts are forced to battle in a 'Doom'-type environment. Convict Kable, controlled by Simon, a skilled teenage gamer, must survive thirty sessions in order to be set free. Or won't he?
A frustrated man decides to take justice into his own hands after a plea bargain sets one of his family's killers free. He targets not only the killer but also the district attorney and others involved in the deal.
A bounty hunter learns that his next target is his ex-wife, a reporter working on a murder cover-up. Soon after their reunion, the always-at-odds duo find themselves on a run-for-their-lives adventure.
Disgraced Secret Service agent (and former presidential guard) Mike Banning finds himself trapped inside the White House in the wake of a terrorist attack; using his inside knowledge, Banning works with national security to rescue the President from his kidnappers.
Ex-con Jensen Ames is forced by the warden of a notorious prison to compete in our post-industrial world's most popular sport: a car race in which inmates must brutalize and kill one another on the road to victory.
Set in a futuristic world where humans live in isolation and interact through surrogate robots, a cop is forced to leave his home for the first time in years in order to investigate the murders of others' surrogates.
Ken Castle is extremely rich, popular and powerful since he invented and started exploiting the virtual online parallel reality games, in which people can either pay as user or be paid as 'actor' in a system of mind-control. The ultimate version, Slayers, fields death row convicts as gladiators in a desperate dim bid for survival, which no-one made yet. The champion, John 'Kable' Tillman, was scheduled to die just before he'ld gain release, but he persuades his teenage 'handler' to hand over the reins so he can fully use his talents and experience. Thus Kable escapes to freedom, only to be chased illegally by Castle's men, yet fights back all the way to his HQ and challenges his evil hidden plans.Written by
(at around 23 mins) In one scene, John gets some kind of brain bits in his face after a head gets blown off in front of him. A couple shots later, the bits are gone. See more »
You know your head ain't on straight?
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German theatrical version was cut by ca. 1 minute to secure a "Not under 18" rating. This was done by distributor Universum before submitting the film to the FSK. The cut version was also released on Blu-ray/DVD. Another DVD version was created for retail chains, this version lacks ca. 11 minutes and is rated "Not under 16". A few weeks after the release of these versions, the uncut version was submitted to the FSK which rated it "Not under 18", too. Since the rating scale for home video is higher than for theatrical releases, the uncut version would have gotten that rating for theatrical release as well, thus it was completely unnecessary to create a cut version in the first place. See more »
The Bad Touch
Written by Jimmy Pop (as James M. Franks)
Performed by Bloodhound Gang (as The Bloodhound Gang)
Courtesy of Republic/Geffen Records
Under license from Universal Music Enterprises See more »
The story is that insipid kind made fun of even by Robert Rodriguez. The characters are not worthy of the concept. But never mind that.
What interests me in these projects is how the cinematic vocabulary is pushed, and how we adapt our ways of building narrative structure through what we see. Now I readily concede that most elements of this vocabulary are economically driven: the transition frequency is high because it allows the producers to get by with less expensive effects. And these techniques exist because there is a market for thrilling violence rather than introspective nourishment.
But that doesn't take away from the effectiveness of what these guys are doing. These are the 'Crank' guys, where the story was an even more incidental parade of stereotypes. What I perceive here is an editing technique that I did not see in the Transformers movies. In those films — especially the first — small incomprehensible snippets of action were unified by the motion across the snippets. That's why you had a lot of horizontal destructive actions. The editor clearly used reversed right for left frames when it helped with these assemblies.
But here the composition is more noisy in terms of the images. The structures instead are compositions of phrases with rhythmic signature. I presume these rhythmic tropes really do come from the game industry and have evolved over time to fill the gap between the action the player makes and the displayed consequence. So it may not be as intelligent a design as I suppose, merely a splice.
Nonetheless, though it doesn't directly nourish, it does expand and stretch, and that makes it partially worthwhile.
Ted's Evaluation -- 2 of 3: Has some interesting elements.
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