Overview: WTF!!! That pretty much sums up Sixteen Tongues. This low-budget softcore cyberpunk porn flick has potential in some of its thoughts, but just loses out in editing, movie making basics like clear dialogue and pointless filler scenes. Low budget flicks often free the director to stop paying attention to movie conventions and potentially create something unique. But to make this pay off, some of the basics of crafting still need to be worked.

The Story: In a dystopic, seedy future, where humanity is fleeting, Sitxteen Tongues follows the plight of three emotionally scarred people (one physically scarred as well). Adrian (Crawford James) is a severely scarred police officer who seemingly died in a previous conflict, but was brought back to life, and had his damaged skin repaired by replacing it with sixteen tongues. His tongue skin, which forces him to taste his own clothes and everything he touches, has since made him go crazy – he hears voices and every now and then, and randomly goes on murderous rampages. Ginny Chin-Chin is a bio-modified assassin droid who has had sexual implants causing her to organism every time she blinks her eyes. The implants help her resist the urges to kill, but she still is driven to find her maker and rip him into shreds. Alik is a hacker extraordinaire, and is Ginny’s lover. She spends her time trying to find Ginny’s maker, but also has the ability to user her equipment to ghost-hack into other’s minds.

All three characters are emotionally traumatized. Alik and Ginny spend half the movie fighting about whether they really care for one another. Adrian is caught up in his own paranoid delusions. Through a chance encounter to get ice, Ginny and Adrian meet up. Ginny goes to his room (which has porno films playing non-stop) and finds out he’s a cop. She thinks he can help her in finding her maker, so she gives him oral favors in exchange for potentially helping her. While Ginny is having sex with Adrian, Alik hacks into Adrian’s TV signal and watches them. More arguments ensue.

Eventually things come to a head due to Adrian’s paranoid delusions. In scanning Ginny’s bar-code, he knows she is a dangerous murderer, and for some reason, begins to think Ginny is actually responsible for his murderous rampages. Confrontations occur, and things spiral out of control from there.

The Set: The entire movie takes place in a few rooms in a seedy hotel with porn posters covering all the walls. The hotels don’t look at all futuristic, aside for the credit card swap machines everywhere. They do at least look very seedy and lived in, although the random people sleeping on the floor was probably overkill. Also, we eventually learn that complete sexual deviants fill virtually every hotel room.

The Nudity: Fair warning – Ginny Chin-Chin spends well over half the movie either in the buff, in a sheer shower-stall plastic outfit, or in her fishnet get-up. She definitely looks hawt in this, whereas Alik, also nude some of the time, is made to look as nerdy as possible. In addition, we are treated to other random nude chicks we see as the movie progresses. Blood and gore are also in high supply here.

The Props: While at first glance, this movie borders on hard core by having an oral sex scene, if you look closely (or watch the extras), you can see that this is a prop. The dildo prop has various warts on it and spurts blood. Adrian’s facial skin grafts look pretty cool, and generally look like a part of him. Alik’s hacker tools, while extremely low-tech, at least pass some minor degree of believability.

The Sound and Lighting: If there’s a place that Sixteen Tongues falls flat on it’s face, it’s the sound. The actors are clearly not that experienced, and tend to mumble their lines. Worse, McCrae, the director, doesn’t seem to mind. With this combination of poor quality sound reproduction and mumbled lines, the viewer is left to decipher the dialogue in many of the scenes by watching reactions. Adrian and Alik are the worst at this. There are a few scenes of each where the view has no possibility of figuring out what is said. The lighting is also atrocious. Constantly we get over-exposed actors or actors completely blotted out by a bright light behind them.

The Bottom Line: Some of the ideas with Sixteen Tongues are pretty interesting. The hacker approach is very similar in some ways to Neuromancer in that it really doesn’t seem to recognize a modern internet, but instead goes towards this almost inaccessible cyberspace that only specialized hackers can use. Unfortunately, some ideas, including the Android assassin bit, and the briefly mentioned bacteria-taking over the body and mind bit are barely even explain. While the plot is problematic and the acting sub-par, it’s the basics – lighting, editing and sound that really doom Sixteen Tongues. Again though, Jane Chase as Ginny Chin-Chin does look pretty smokin in her various get-ups. So if you want to see a bizarre, edgy, low-budget approach to cyberpunk with lots of nudity and gross scenes sprinkled throughout, you might get some enjoyment out of this.

Overview: Overview: Codehunter (a.k.a. Storm Watch) is a fun, but absurd low budget AI and VR flick. This is not a movie who’s technical plot holds together, but it does work as a bubble-gum current-setting hacker-cyberpunk romp. Code Hunter is another War Games-Hacker-Colossus, the Forbin Project rip-off, but in a simplistic and enjoyable way. I’m a sucker for movies with either Bai Ling and Adrian Paul in it. Along with those two, the supporting cast which includes Babylon Five’s Jerry Doyle, Vanessa Marcil and Nora Dunn is pretty fun too.

The Story: Nick “Jester” Chase (played by Nick Cornish) is a reformed hacker who likes to hang out in a VR first person shooter game called Shock. Simultaneously, a small computer firm is attempting to sell the US Navy on a new satellite system called “Thunderhead,” which is designed to control the weather. Nick is contacted in the game by Skylar (Bai Ling), a computer genius extraordinaire, to steal a file from an unknown computer system. After refusing, Skylar blackmails Nick by modifying his record to make him a wanted fugitive. Skylar agrees to steal the file, but then hides it and tries to go to the news station to seek protection. He enlists the aid of up and coming reporter, Tess Woodward (Vanessa Marcil), who agrees to help him.

Unfortunately, Thunderhead appears to be out of control, and has created two massive hurricanes on each side of the US that will devastate the both coasts, causing potentially millions of deaths and billions in damages. The government tracks down Nick and bring him in for questioning. As the plot unfolds, it appears that a strange connection between the VR game “Shock” and Thunderhead emerges. Unless they can unravel it, the consequences will be catastrophic.

The Bottom Line: Although the cast is fun, and the pacing is good, the actual plot points and coherency are well past the point of believability. They are too numerous to count, but suffice to say the good guys had a number of obvious solutions that could have stopped the catastrophe. To add insult to injury, the movie overstretches its AI angle – had it stopped earlier, it would have worked within the narrative, but instead, they go for the sappy “teach me all of humanity” angle. Again, the movie is fun to watch, but lacks any real intelligence.

Overview: Now, surely there must have been some kind of mistake. This is Cyberpunk Review, right? OK. Since when stories of little green men do qualify as such? Surely the mere fact that agent Scully had an implant in her neck does not count for an awful lot.

All true. This particular episode, however, is different. Look at the credits. William Gibson. Ring any bells?

More Than Meets the Eye: It all starts with a rather innocuous shootout at a diner in a drab neighbourhood. Piece of cake, eh? Well, not exactly, as it turns out that one of the victims is in fact a top IT expert and programmer whose death might have been anything less than a coincidence. Soon afterwards Mulder and Scully happen upon a rather charming lady going by the nick-name of Invisigoth, who turns out to be much more than just a leather-clad Trinity wannabe…

The threat, it is revealed, comes from a fugitive AI she and her companions helped to spawn. This synthetic entity seems to have little regard for human life, plus it possesses some rather eccentric habits, such as playing with leftover Star Wars military orbital lasers and residing in abandoned… camping trailers. Needless to say it has to be stopped, although it may yet turn out Invisigoth pursues a different agenda altogether…

Out There: Even if the credits said “Jay Leno” or “Kermit the Frog” rather than Gibson, there still would be a good case to make for the overall cyberpunk feel of this standalone episode. In terms of themes, it is all there- the pursuit of the AI takes place both in our very own “desert of the real” and through the net; agent Mulder even gets to become a multiple amputee courtesy of the malicious program’s VR simulation. More interestingly, the episode deals with the transfer of consciousness- translating a human psyche into digital data in pursuit of a peculiar kind of disembodied immortality. It is at that point one may begin to realise that one of the foremost attractions of the concept of sentient cyberspace entities is that cyberspace begins, to the mind of many, resemble a manufactured heaven of sort, a synthetic paradise for the unbelievers, allowing those of little religious zeal to dream of achieving transcendence. This move to another plane of existence, an ersatz afterlife- may not be explored at lengths here, yet gives a good cause for reflection. Apart from the sentient computer theme there is of course our sweet little Trinity impersonator (prettier than the real deal? I might be getting controversial here…) who also happens to drive a car (1960s Imperial, to be exact) very similar to the black Lincoln in the first Matrix.

Convinced? And then you realise that this episode actually comes from 1998, which is a year BEFORE tha Matrix… So, who’s the copycat, eh Trinity? Guess I should be expecting a lawsuit for these allegations any time now…

The Visuals: While not trying to rival Blade Runner, the visuals are decent for the budget. Being that this is an X-files episode, we shouldn’t expect anything too fancy - the series rarely relies on fancy visuals to generate their mood, or to depict story elements. One of the distinct traits of the X-Files is that they can often make ordinary places or events appear menacing and sinister when placed in the given context - this applies to Kill Switch.

I assure you that, having seen this episode, the next time you’ll see a decaying camping trailer you’re gonna think twice before approaching it. In a way this depiction of cyberpunk is more realistic - inconspicuous locations concealing the drama of furtive technological experiments and computer crime is very much what one’s bound to encounter today. The most important bit - the flow of data - is hidden from the eye. The episode does treat us to some juicy cyberpunk visual elements, including gloomy improvised computer labs, and chaotic nests of cables and wires lit by the dim glow of terminal screens - but nothing too extravagant (aside for a few explosions).

Confirm File Delete: Overall the episode represents a truly interesting foray of the famous franchise into the realms of cyberpunk, courtesy of Mr. Gibson himself. As with many other episodes, the strength of Kill Switch lies in its inherently believable narration, a mixture of the ordinary and the imaginary that made the series famous. The acting is decent- Invisigoth oozes character- and the action tightly coiled into a mere 45 minutes of film. Yet because of the unspectacular nature of the whole thing few will probably have seen and noticed it, even if this is as close as we can get into having a Gibson story made into a feature film, after his Alien3 script got binned long ago. It may not be cyberpunk canon in any way, but do watch it- I swear that after those 45 minutes you’re likely to be craving for more. Which you just might get, as there is another Gibson-written X-File which I will investigate soon…

Overview: OK, so its not near future, but these kids have the glorified underground hacker thing down. In Hackers, every computer is networked and available for hacking. Hackers gives us a plethora of cool computer imagery cut scenes, 3D buildings serving as file share stores, and lots of underground punk visuals. These visuals are packed into a nicely paced movie that makes the outlandish story of high stakes theft, environmental destruction and hacker antiheroes fun to watch.

The Story: Hackers follows the life of a group of “Elite” hackers, who, through chance while playing a hacking game, uncover a plot within a large bank to contaminate the environment by blaming innocent hackers on messing up software that causes automated oil tankers to spill in order to cover up the theft of millions. The lead bad guy, code name “The Plague” (played by Fisher Stevens) is also a hacker, except that he has “sold his soul” to corporate life and serves as the lead security consultant. The struggle between the hackers and The Plague inevitably brings in the hapless police, who immediately are duped into arresting the hacker force.

While the larger “destroy the environment for personal and corporate greed” theme is going on, there is also intertwined teenage alienation and bonding themes. Most all the hackers are outcasts from “regular” society. The leads Jonny Lee Miller, who plays hacker “Crash Override,” and Angelina Jolie (Acid Burn) engage in a hacking contest, of which, the loser has to wear a dress on a date (Jolie never wears dresses).

The Hackers: Both Jonny Lee Miller and Angelina Jolie do a great job in playing slick, but semi-nerdish “Elite” hackers. They head up a cast of misfits, all of whom are consumed with breaking in to everywhere just to see if they can. Jesse Bradford, Matthew Lillard, Laurence Mason, and Renoly Santiago all give fun, memorable performances All the popularized hacker approaches are shown here, including social engineering, sifting through trash, and hackers thumbing their nose at authority. The notion of an “Elite,” which is someone in the top 5% of all hackers is given as the ultimate goal for all who aspire to be hackers. To be recognized as such, you have to have a high-profile hack in your history.

The Visuals: Hackers is more visually interesting due to all the creative hacking cut-scenes interspersed throughout the movie. They serve to glorify hacking, networked computers and the overall hacking lifestyle. Because staring at a computer while typing doesn’t yield exciting celluloid, this was a nice approach to keep things interesting. Unfortunately, it is completely absurd from a realism standpoint (especially the 3D knowledge stores), as hackers pretty much keep to source code and text prompts. Shots of the underground punk scene generally consist of flashes of neon colors in darkly lit, oddly shaped rave bars.

The Bottom Line: There are a bunch of the hacker movie types, but I find Hackers to be on of the most enjoyable to watch. This glorification of the hacker movement is charming, as are most of the hacker co-stars. Miller and Jolie have great chemistry, and make you really care about an otherwise absurd story. Again, don’t look for realism in Hackers, but enjoy it nonetheless.

Overview: The Matrix is one of my all-time favorite movies, so I’m just not going to attempt to come off as unbiased about it. Additionally, I’m guessing that pretty much everyone who’s coming to this site has seen it - probably numerous times, so I’m guessing a plot description isn’t of much value here. In short, my conundrum with the review is this - what should I say about this movie that will in any way add value to the reader? Answer: Not much. Instead I have decided to keep the bulk of my comments for various essays on the Matrix Trilogy.

Matrix Influences: The Matrix influenced movies in general and society as a whole. With respect to movies, we see numerous influences, including:

• Special Effects: Bullet time and a myriad of other FX are now standard practice in movies and commercials
• Synonymous with “Cool”: Movies that have a “matrix-like” feel are advertised all the time. We know what this means - it means they aspire to be ultra-sleek, ultra-cool and the “in” thing.
• Fight Sequences: By hiring Hong Kong Martial Arts master Yuen Wo-Ping to coordinate the fights, the Matrix raised the bar on mainstream American movie fight sequences
• Matrix Source Code: The Matrix source code, taken in part from Ghost in the Shell, is everywhere now, and is instantly recognized, as is its meaning
• Hot Chicks in Black Shiny Stuff Kicking Butt: Trinity’s influence has massively upped the anty on action chicks in movies. While Michelle Pfeiffer’s Catwoman in Batman Returns re-initiated this trend, Carrie Anne Moss’ Trinity has made this outfit almost mandatory for female action heroines.
• The use of philosophy in movies: The Matrix seems to have broken the barrier to discussing philosphy in movies. Lets hope this idea lives on.
• Fashion: From Sunglasses, to overcoats to cyberpunkwear, the Matrix has changed the way people dress.

 



 

The Bottom Line: The Matrix is already one of the most influential in science fiction, and is truly one of the cornerstone cyberpunk movies in existence. We get it all here: terrific action, awesome cyberpunk concepts, incredible cyberpunk visuals, cool philosophical discussions, an absolutely awesome soundtrack (although DoomAng3l disagrees with this - see his comment below) and innovative FX. On top of this, all the leads were terrific. Reeves makes a perfect Neo, and Moss, Fishburne and Weaving give career-defining performances. Look below for move screencaps on page 2, and additional essays on the Matrix.

 



 

Matrix Essays

• The Matrix Trilogy: A Man-Machine Interface Perspective: This essay explores the Matrix Trilogy specifically from a scifi perspective - the purpose of which is to show how Neo’s journey is really a sequel to Motoko’s transformation at the end of Ghost in the Shell. Developed throughout the trilogy, Neo becomes a fully merged entity comprised of a sentient program with a human.

 

Page 2: More Screencaps–>>

Overview: War Games is a wonderful 80s film that captures both the cold war fears and the budding hacker mentality. Mathew Broderick plays a geek teenager named David, who has fun hacking into open modems to noodle around with unidentified computer systems. He finds one computer that likes to play chess. Eventually, he finds this computer also likes to play Global-thermonuclear war. Unfortunately, while playing, he unknowingly starts the Strategic Air Command computer’s countdown to thermo-nuclear war.

This movie is lots funnier when we consider the DoD IT fuckups from the late 70s in building computer-based command and control systems such as this. Twice, in the middle of the night, President Carter got racked out of bed to be told that the Soviets had launched - only a minute later to be told, “Sorry, it was just test data” that was being run on their new $100 Million dollar computer system. After the second such instance, President Carter made it known that he no longer found this amusing. Unfortunately, the designers of this system in their infinite wisdom had the specifications written so that test simulations had to be performed on the live system. For obvious reasons, this is about as bad an idea as has been considered, let alone implemented. They ended up having to spend an additional 50 million to build a test system, that was thereafter known as “Bozo the Clone.”

The Bottom Line: It is definitely a stretch to call War Games cyberpunk. The only thing that makes it so is the pre-Terminator plotline concerning the Military’s attempt to allow machines to manage key decisions for society and the hacker subplot. While not as dystopic as Colossus - the Forbin Project (still awaiting review), the theme is executed competently, especially when combined with what was then the advent of the hacker movement. This is well acted, and for the most part, a decent “pre-cyberpunk” style movie.

Overview: How could a cyberpunk review site NOT have Tron? We’re talking about the first CG movie, and truly, a groundbreaker VR movie. Make no mistake, this is a pre-cyberpunk movie, complete with corporate greed, theft, integration of human and computers, ubiquitous access to information, a dystopian world (inside the program, anyways), and pure cyberpunk visuals and style. While Tron is slightly cheesy in parts, its still a hell of a ride!

In Tron, a computer programmer (Jeff Bridges) who has his programs stolen from him tries to go back into the corporation to get them, but somehow gets sucked back into the game he developed. From there the fun begins, as Bridges has to square off against contestants and the Master Control Program in order to escape back to the real world. Most of this adventure takes place within the program world, and involves some awesome games and fun chase scenes.

Like the Wizard of Oz before, and eXistenZ and Thirteenth Floor after it, the players in the game bear a striking resemblance to their human users. Some movies call this “residual self image” - others just build this concept into the design of the system. But while this convention existed in fantasy realms, Tron successfully set the pattern for most future VR films - you look the same on the inside of the VR system as you do on the outside.

Tron has a rather silly aspect about it in that it continually uses computer terms in non-sensical ways. As steeped in computer-speak as we are today, these stick out like a sore thumb. However, at the time (1982), very few people would have noticed this. The idea was to just get the cyber-atmosphere permeating the movie, which Tron did most effectively. In setting the trend for most most cyberpunk movies that follow, neon colors are “In”, as is the idea of a single dominating color the permeates the movie - in Tron’s case we get mostly blue, along with red representing the bad guys.

Yes the FX are dated now (God I hope so!). We’re talking about the real early days of computer graphics. Still, some of the shots still hold up well, and overall, the visuals are still very enjoyable. Tron is designed to have a sense of wonder about it - this still works. The car race game in particular is still VERY fun! Another thing that still works is the music accompanyment - Wendy Carlos’s synthesizer-laden soundtrack fits this movie perfectly.

Overview: Jeff Bridges, Babylon Five’s Bruce Boxleitner, and David Warner as the evil bad guy (The exec Ed Dillinger, the game player Sark, and the Voice of the Master Control Program) all provide very fun performances. They are able to make this crazy environment work well enough that it still comes across as a rather cool cyberpunk flick. And truly, if you’re into VR cyberpunk movies, Tron is a MUST SEE - so much so that one point has added to this review score for its historical place in VR films.