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.
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.
Mortal hero Bek teams with the god Horus in an alliance against Set, the merciless god of darkness, who has usurped Egypt's throne, plunging the once peaceful and prosperous empire into chaos and conflict.
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
In an unusual move, the film was actually shot for the 2.40:1 aspect ratio. However, the first edited scenes were done with the unmatted image, but subsequently masked to 2.40:1. The directors preferred the 1.85:1 version, which allowed the audience to see more information and accommodated the handheld camerawork better, and so the aspect ratio was switched. Miraculously, no boom mics needed to be digitally erased from the previously-unused picture information. See more »
(at around 1 min) In the scene showing the pyramids in Egypt, the word "Kable" is displayed backwards in Arabic letters. Since Arabic is read from right to left, the way it is shown in the movie, it would be read as "Lebaak". See more »
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 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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