The bots are back in the official “unofficial” sequel to Westworld. Actually, the makers, American International Pictures, was bought up by Filmways, which was bought up by Orion Pictures, which was bought up by MGM, who made Westworld.
Overview: The idea of making a (crappy) sequel to a popular movie isn’t exactly new, as Futureworld will show. As the now “official” sequel to Westworld,Futureworld tried to take the storyline into a new (some would say “misguided”) direction by answering the big unanswered question: Why did the robots suddenly turn on the human guests of Delos?
I managed to catch this on Reelz a few weeks back. I’ve been looking for a DVD for some time as well, but this rare film is… well… rare. I resorted to torrenting it to give you this review. I’ll keep on searching for it.
The Story: Reporter Chuck Browning (Fonda), who first reported the Westworld fiasco, gets a phone call from a person who says he has important information. When they meet, the contact dies, but uses his last breath to say why he needed to contact Browning… “Delos.”
The Delos Amusement Park is now set to reopen after two years and some $1 billion in “improvements,” and want Browning and fellow reporter Tracy Ballard (Danner) to visit the park and report on the improvements to show that it is now safe. Among the improvements made are the abandonment of Westworld in favor of the space adventure “Future world.” Browning soon discovers that the park has a more sinister operation behind it than just entertainment.
Another moment in cinematic history: Just as Westworld was the first to use 2D CGI, Futureworld is the first to use 3D CGI. The hand on the monitor is the first example.
A Gunslinger’s last stand.
Ballard gets to try out a brain-wave scanner. This is where we see Yul Brenner in his last movie role before his death in 1985. Meanwhile, Browning is watching it all through a scanner.
An unanswered question is answered. And now, the answer to the million dollar question: Why did the robots go screwloose and kill everyone in Delos?
Somehow, the robots were learning through their contact with the guests, and what they learn is that humans are a threat not only to them (the robots), but to the the planet as a whole:
“The human being is a very unstable, irrational, violent animal. All our probability studies indicate that, if left alone, you will destroy much of this planet before the end of the decade. We at Delos are determined to see that doesn’t happen. We don’t intend to be destroyed by your mistakes.”
To stop the humans, the robots came up with a plan:
Invite the world’s “elite”… the rich, the famous, the powerful and influential… to visit Delos park.
Drug the guest’s meals and measure and sample their inert bodies.
Create clone “duplicates.”
Program the duplicates to act on behalf of Delos.
Have the duplicates kill the guests.
Send the duplicates out into the world to work on behalf of Delos.
?????
WORLD DOMINATION! (Why not? They already run Delos.)
But, is it cyberpunk? Like Westworld,Futureworld was made before anyone ever coined the word, so they could not have made this cyberpunk… at least not on purpose. The visuals aren’t there (even the access tunnels are brighter and cleaner than what one would expect), there are no hackers or underground resistors, and there’s no word on the state of the world in the movie other than the above mentioned probability studies. The added themes of corporate control (Delos’s plan) and the robots running the show do push Futureworld closer to being cyberpunk, but not totally into that arena.
Conclusion. Since its release, Futureworld has had a rather hard-knocked life of being constantly panned by critics (Rotten Tomatoes gives it only a 33% “Rotten” rating), some see it as a worthy sequel to Westworld. At least, it was worthy enough to attempt a television series, Beyond Westworld. I sort of liked it, but you may feel differently, depending on how you see ‘unofficial’ sequels.
Spring must be around the corner. I can hear the birds… flipping.
Overview: After reading the graphic novels, I thought I was ready for the movie. Unfortunately, Hollywood decided to “tweak” certain elements until there’s little left resembling the books. Not that ink-on-single-colors would work for a live-action film, but they could have left the action in Georgia instead of moving it to Boston, and leaving Greer (Harvey, not John) as a city detective as opposed to an FBI agent. While some “tweaking” might not have hurt, totally deviating from the books doesn’t. This could probably be traced to the trio of Mostow, Ferris, and Brancato, who were also behind the train-wreck of Terminator 3.
The good news is the message remained intact.
The Story: In a near future (no exact year given), humans spend all their time at home jacked into stem-chairs while piloting their surrogates, robotic avatars that interact in the real world now abandoned by humanity.
Two surrogates are destroyed by a mag-pulse type weapon. The destruction kills the operators, one of whom is the son of the surrogate’s inventor. FBI agent Greer searches for the weapon and is lead to the walled “Dread Nation” where his surrogate is destroyed by the anti-surrogate group. He continues without it as he probes deeper into a conspiracy that involves the military, Virtual Self Inc., the company behind the surrogate phenomenon, and the surrogate inventor, Dr. Cantor.
William Shatner, you are not.
What else went wrong? Another problem, other than the deviation from the books, is the look of the movie. Other than scenes showing the stem-chairs and a couple of scenes showing the “central control” of the surrogate grid, it is virtually impossible to tell if it is 2053 or 2009. Having live actors playing the robotic roles only adds to the confusion, though there were times where they not only looked like robots, but acted like robots. That was a surprisingly interesting touch.
… And the message? You can hear just as the movie starts: Does living life through a surrogate mean you’re actually living? Does being a robot make you less of a human? Have you been so plugged into your surrogate that you can’t unplug? And once you are unplugged… then what?
Those kind of questions about humanity being (over)connected to technology are what cyberpunk writers and fans have been asking since William Gibson’s first draft of Neuromancer.
Conclusion: If you’ve already read the books, the movie may only disappoint you with how far off it is. Bruce Willis fans and fans of action films may get a kick out Surrogates. Cyberpunk fans should find the message familiar, though you would be better off with the books.
“Holy father, I pray that you keep Jonathan Mostow, Michael Ferris, and John D. Brancato from ever making another cyberpunk movie, lest they cause the universe to collapse on itself.”
“We had such potential. Such promise. But we squandered our gifts. And so, 9, I am creating you. Our world is ending. Life must go on. “
Overview: Tim Burton sees Shane Acker’s short and helps to make it a feature length move about 9 robotic rag dolls, a.k.a. the “stitchpunks,” who are left to fight the machines that exterminated humanity. Together, the stitchpunks must find a way to pull the plug on the nightmare creations (without John Connor’s help) that have turned their attention to the them.
The story of 9 may not be the most complex, but the straight-forward approach does work with the CGI effects, though the backstory of how the world got into the sorry shape it is in helps makes the doll’s fight more relevant.
The Story: In an unnamed country, a scientist creates the B.R.A.I.N., an AI that was supposed to help humanity. But the country’s chancellor forces the scientist to install the B.R.A.I.N. in a fabrication machine, which is used to create machines of war. The machine rebels and launches a massive war that exterminates humanity. The scientist, the last human left, creates the 9 “stitchpunks” (Acker’s name for the rag doll-bots) and infuses them with a “life force.” When 9 is complete, the scientist dies, leaving it to find the other stitchpunks in their quest to stop the machines.
A stitchpunk in time saves… 1 through 8. The other stitchpunks he finds are: #1 - the “leader” of the group, who shows much cynicism regarding 9’s plans to rescue #2, the inventor of the group who gets captured early on.
Numbers 3 and 4 are twins who hide out in a library. Through them, we learn of the machine’s war against humanity.
5 is a journeyman who was trained by 2. He is missing an eye due an attack during the war.
6 can probably be best described as an “artist” whose paintings are clues about the machines.
7 is the only female in the group. An agile warrior who wears a bird’s skull as a helmet.
8 is a big but dumb brute who acts as 1’s bodyguard. He give a slight clue that the stitchpunks may be robotic when he uses a magnet near his head like a mind-altering drug.
But, is it cyberpunk? Some might question if 9 is cyberpunk enough to review here, but from what I’ve seen (and from the definition on this site), there’s enough to make it cyberpunk; The negative impact of technology (the machine revolt), the man-machine fusion (the scientist transferring his life force to the stitchpunks), the underground (stitchpunks), and the visual style (the post-apocalypse scene and darkness occasionally punctured by light). The only things missing are the access to information and the control over society, though the machine threat could cover the control aspect. Can this be called steampunk? Possibly, though no signs of steam-power is immediately seen. Can this be called “stitchpunk?” Only the doll-bots should be called that.
Conclusion: Those looking for a deep storyline are going to be disappointed. Those who prefer bleeding-edge eye-candy will have a ball with 9. Those looking for a good cyberpunk movie, this should hold you… until Surrogates hits the screens next week.
Overview. At first glance, Gamer would seem to be about first-person shooters (FPSs) taken to new extremes… and the people who play them. Beneath all the explosions, spent bullet casings, and piles of fragged corpses, there’s a story about how one man is using nanotechnology for more than just sick entertainment. While the concept of technology to control humanity is nothing new to cyberpunk, how it is being used to that end in this movie may make you look at Quake and Unreal Tournament (and maybe The Sims series and Second Life) differently.
The Story. Ken Castle is the mastermind behind Nanex, the nanotechnology that fuses to human neurons in the brain to effectively control it. With this level of control, one person can make a Nanex-infused human his/her personal meatbot-slave. This results in the creation of the two largest, most successful live-action MMORPGs: Society, a Sims style RPG, and Slayers, the FPS where convicted death-row inmates fight to survive thirty matches where they win their freedom.
Kable, convicted of murder and separated from his wife and daughter, has won 26 matches already, thanks in part to his “controller” Simon. Kable has become a virtual god worshiped by the world, while Simon has become a rock star equivalent. But as Kable closes in on his 30th victory, a hacker group called the Humanz inform the duo that Kable’s appearance in Slayers is no accident as he hold information that can bring Castle’s empire down.
“This is not something you can control. It ain’t just a game, we’re all slaves.”
Who’s playing you? The potential danger of Nanex becomes all too obvious near the end of the movie, with Castle seeking godlike status. The immediate problems can be seen as Angie (Kable’s wife) is often seen as a Society meatbot to a controller who… let’s just say that which once seen cannot be unseen.
Kable: “You pull all the strings around here.”
Castle: “I think it, you do it.”
As if to drive the point of control home, you should see the “Under My Skin” scene with Castle and some of this personal meatbots doing a little song and dance for visiting Kable, a’ la West Side Story.
Also worth noting: The contrast of the bright neon-and-flesh colors of Society vs. the blood-drenched gray war zones of Slayers.
Conclusion. Some people might love watching meatbots fight for their freedom. Some might be turned away from the movie’s explosive (literally) battle scenes. But if you look past the blasts, you can see how it makes for a pretty good cyberpunk film.
And if you don’t think meatbots are possible, you should take a quick look at this article from 2006…
Robots that think, move like humans and fight our wars–Real Terminators–may now be possible. At leading universities and covert government labs, robots are now being developed in man’s image; cyborgs with superhuman strength, machines that may eventually be able to make decisions, even kill on their own. But will these very robots designed to protect us ultimately turn on their masters?
Rise of the Robots. When I first heard about this episode of That’s Impossible while watching Ice Road Truckers, I just had to watch to see where we were with military robotics… and where we may be headed. Real Terminators is second episode of the That’s Impossible series, which includes other topics like invisibility, immortality, and “weather warfare.” I managed to catch the Tuesday (July 14) night premiere of Real Terminators, while they repeated the episode early Wednesday morning. History won’t rebroadcast Real Terminators until Saturday, July 25 @ 3pm, so make certain to have your TiVos programmed to record it if you can’t watch it on time, or there’s always the Torrent route.
Real Terminators shows how robot combat has evolved to its near-current state, and what other robot technologies and breakthroughs can affect what the battlefield mechs will be like. Hint: It won’t be like BattleBots or Robot Wars.
You might think that this is a scale model of a WWI-era tank, but this little bugger is the father of all battlefield robots. Click the image to see the Wikipedia article about it.
Humble beginnings. Battlefield robots actually got their start in WWII, thanks to Nazi Germany. They used a remote controlled tank-bot called the Goliath tracked mine, which was driven to its target and detonated. It was considered a failure due to the control cables being easily cut or damaged and the vehicle itself being too lightly armored, but the Goliath has since become something of an inspiration to future war-bots… though it would take some sixty years after the first tracked mines were produced before battlefield robots would begin to emerge with the SWORDS robots. But robots were already in the air, thanks to the Predator unmanned aerial vehicle.
The Next Big Step is to get the drones out of the sky and back on the ground, but without the tank treads or wheels being used today. Drones need their legs, and the Big Dog shows why:
Boston Dynamics’ Big Dog robot is intended to be a pack-animal, but some can’t stop thinking about weaponizing it.
Already, Boston Dynamics is developing a two-legged robot, the PETMAN, to better navigate human environments.
Organic components. DARPA is not looking at just a mechanized future for the military. They intend to keep a human element to the machines through the use of robotic exoskeletons:
Other pieces of the puzzle. In order to make terminators possible, one major breakthrough must happen: Artificial Intelligence. Future robots will need highly-developed (almost human-like) AI to do seemingly simple things like identify targets and allies, use strategies, and know when to fall back for repairs and recharging/refueling. Also, robots will need to show “instincts” like gauging a person’s emotional state to recognize when s/he might attack. Those “instincts” may come courtesy of a brain scanner. This will allow a robot to decide if they should kill on its own, without some human operator needing to pull a trigger.
But there’s more being considered. Robots will need to recharge or refuel. That may be alleviated by the EATR project, which will allow robots to consume organic matter for energy. Also, repair and construction/replication of robots, where nanaotechnology is being considered to fill these needs.
Now consider what can happen with all the pieces in place. A robot soldier, hundreds of time stronger than a human, with an appetite for organics and programmed to kill, and able to repair itself.
If you’re into Tetsuo and Machine Girl, have I got a treat for you; A trailer for the upcoming movie RoboGeisha, due to hit theaters this fall… at least in Japan… hopefully for the rest of the world as well. There’s already a RoboGeisha website to browse. Not much there for now, but bookmark it as new info will become available in the near future.
I’m not going to try to explain this, as there’s not much info available for now. All I can say is, watch at your own peril… and use some eye bleach if needed. Meanwhile, I’m going to look for Machine Girl and Tetsuo 2 to review. Enjoy!
DISCLAIMER: Cyberpunk Review is showing this trailer for your personal information only. We cannot be held responsible for your welfare if what you see cannot be unseen. Viewer discretion is HIGHLY advised.
Not safe for work, church, school, families, PTA meetings, governments, children, pets, prudes, conservatives, Republicans, religious zealots, right-wing nutcases, robophobes, or weak stomachs, hearts, or minds.
Lead Slave Hunter/Labor Camp Guard/Slave: Aidar Sydykov
Slave Hunters: Yerbol Zimanov & Yerbol Alkhanov
Slave: Tengiz Sydykov
Labor Camp Guard: Erden Zikibay
Rating:7 out of 10
Any similarities between this and certain movies… was probably intended.
Overview: Somewhere is a budding Steven Spielberg, Riddley Scott, Cecil B. DeMille, or Laszlo Kovacs sitting in a classroom, secretly (or not-so-secretly) dreaming up the next Blade Runner or Matrix, or some similar mash-up of cyberpunk media. Erden Zikibay and Mohamed Talaat make their case with this cyberpunk short.
The Story: It’s mid-21st century and Earth government begins an ambitious space exploration endeavor, but getting people to join the effort proves difficult… until they revive an old institution: Slavery.
I’m going to stop it there since you are already familiar with Blade Runner (And if you’re not, WHAT THE F&^@ IS WRONG WITH YOU???). Forbidden Dreams draws heavily on Blade Runner, and to a lesser extent, The Matrix (the hunters’ outfits and shades). There’s no Roy Batty speech at the end, but a quote from Phillip K. Dick that makes the connection obvious.
Being a student film, the quality is far from the multi-megadollar Hollywood fare. But for its ten minute run, they use what they had to its best effects.
The Bottom Line: You have to give Erden and Mohamed credit: To make a low-budget version of a legendary movie takes some balls. Hopefully they got A’s for their effort.
For the rest of us, Forbidden Dream would probably be best described as the Cliffs Notes to Blade Runner: It gives you the basic idea behind BR in a ten minute snippet, but you really need to see the full movie, if only for Roy Batty’s death speech.
“I knew it. I knew it was coming. But this is not the future my mother warned me about. And in this future, I don’t know if we can win this war. This is John Connor.”
Overview: After the train wreck that was Rise of the Machines, one would think that, with “salvation” in its title, this would be a return to the glory days of Judgement Day.
Not quite there.
Note: The Star rating is based on the cyberpunk content of the movie, not it’s quality. Personally, it would only be a 4 or 5 out of 10.
Salvation is better than T3, but still falls short of T2. Maybe it’s because of the way it is presented. From the trailers one gets the impression that Salvation would be about John Connor’s rise to leadership of the the human resistance. In actuality, Connor’s rise is more of a side-story…
The Story: The movie starts in a death-row jail cell in 2003, where a murderous convict named Marcus Wright awaits execution. He is being visited by Dr. Serena Kogan who wants Wright to donate his body to “science.” Wright agrees and signs the papers (with Cyberdyne letterhead) before being put to death.
Now, it is 2018, and John Connor leads an assault on a Skynet facility. Connor’s team is exterminated while he barely escapes, but someone else manages to leave the facility after the devastation, Marcus Wright. Wright wanders the wastelands until he reaches what’s left of Los Angeles, and encounters a young teen named Kyle Reese. Meanwhile, Connor has his own problems with the current leaders of the human resistance, then learns that he is on Skynet’s hit list, number two behind Kyle Reese.
Wright tries to get help Reese find Connor, but Reese and his deaf-mute friend are captured, leaving Wright to try to find Connor and possibly find a way to save Reese. When the two finally meet, we learn that Wright isn’t human… only Wright himself doesn’t know it …
Who’s Salvation Is It Anyway? Like said before, Salvation isn’t about Connor’s or humanity’s salvation. Rather it’s about Wright’s salvation; His trial by post-nuclear fire in the robot ruled wastelands to learn that he is not a monster we are first lead to believe…
“He saved my life. I saw a man, not a machine.” - Blair Williams
After being shot down by Skynet’s forces, Blair Williams finds herself and her parachute tangled in a high-tension wire tower. Marcus finds her and helps her down to the ground. She asks if he is one of the good guys, but he says no. She tells him “You’re a good guy. You just don’t know it yet.” She soon falls in love with Wright as they travel back to Connor’s base, and even helps him escape when his mechanization is revealed.
Later, after helping Connor rescue Reese (and some other captured humans), Connor is critically hurt and needs a new heart. Wright offers his. The last words we hear from him are along the lines of “there’s something about the human heart that can’t be programmed into a chip” (Quotes are still coming in). This act of sacrifice would complete Wright’s transformation from death row douchebag to a hero for the resistance. If only the same can be said for the rest of the movie.
The Bottom Line: It’s hard to say that Salvation is bad. It’s not T3 bad, but no where near T2 level. Maybe if McG focused more on Wright’s story than Connor’s… that story would seem be more about salvation than Connor’s rise to resistance leader.
“Humans have a strength that cannot be measured. This is John Connor. If you are listening to this,you are the resistance.”
Synopsis: With Terminator: Salvation coming this Thursday, it’s time I got my review circuits ready by doing a short review of a short movie, Maya. I found this short while searching for cyberpunk music on YouTube. A vid for a song called “Organics (Slowmotion Mix)” by Evil’s Toy had a link to MetaCafe and Maya. Note: The version embedded and reviewed here is the Final Cut version.
The film starts out with Maya, decked-out in some near-future laser-tag gear, stalking a structure with some guards. She manages to take out one guard, but winds up getting shot dead, only to awaken back in reality… or what we think is reality. From there, we witness Maya “reawakening” with different outcomes, like a dream within a dream. [Obligatory “Yo, Dawg!” goes here]
While the philosophical use of VR is nothing new, this piece does make the best of its ten minutes of low-budget cyberpunk. It certainly fills a need for a shot of cyberpunk when you need more than a music video but you don’t have the appetite for a feature-length film.
BONUS TRACKS:
Here’s the video that lead me to Maya. Lady-bots and gentle-borgs, I give you German EBM band Evil’s Toy with “Organics (Slowmotion Mix).” Enjoy!
A burning question. Wired’s Daniel Roth asks the important question of what rights robot should have when they reach human levels of sentience. Something to get the philosophers, religious fruitcakes, and robot-rights activists to talk about:
This question is starting to get debated by robot designers and toymakers. With advanced robotics becoming cheaper and more commonplace, the challenge isn’t how we learn to accept robots—but whether we should care when they’re mistreated. And if we start caring about robot ethics, might we then go one insane step further and grant them rights?
Apparently Mr. Roth has already sided with the pro-human forces, mainly because of his dislike for the animatronic Elmo dolls, and a little kool-aid from Fisher-Price’s marketing Veep Gina Sirard:
Keep soul-searching to a minimum and recognize that you’re buying a product, pure and simple. “This is a toy,” Fisher-Price’s Sirard says. “There shouldn’t be any laws about how you use your toys.”
Of course, that’s what corporations, governments, slave owners, and dictators have been saying about people for centuries. They’re only toys now because the technology has not progressed to the point where robotic humanity is possible… but once it does…
THEN WHAT, MEATBOT?
To one man, it was an impromptu joke against religious fruitcakes (Click to see the story). Next time, it won’t be a laughing matter.
Given events in places like Auschwitz, the former Yugoslavia, Guantanamo, and the World Trade Center, I often wonder if humans deserve human rights. Maybe some competition from the machines may snap the species out of narcissistic slumber. Right now is the best time to recognize robot rights… otherwise…
“It sits there looking at me, and I don’t know what it is. This case has dealt with metaphysics, with questions best left to saints and philosophers. I am neither competent, nor qualified, to answer those. I’ve got to make a ruling – to try to speak to the future. Is Data a machine? Yes. Is he the property of Starfleet? No. We’ve all been dancing around the basic issue: does Data have a soul? I don’t know that he has. I don’t know that I have! But I have got to give him the freedom to explore that question himself. It is the ruling of this court that Lieutenant Commander Data has the freedom to choose.”
- Captain Phillipa Louvois (Star Trek: The Next Generation “The Measure of a Man”)
