Connect with us

Editorials

[Retrospective] No Flesh Shall Be Spared – Remembering ‘Hardware’

Published

on

Sci-fi/Horror might just be the best man-made combination since the invention of the peanut-butter-jelly sandwich. From Frankenstein to Alien, this particular blend of genre mashup has presented us with countless memorable stories concerning the atrocities that the future might have in store for us. However, there is a certain early 90s classic that doesn’t get the love it deserves, and it just so happens to be one of my all-time favorite Sci-fi/Horror films. Of course, I’m talking about the criminally underrated cyberpunk slasher Hardware.

Based on a minor short story from the acclaimed comic series 2000 AD, Hardware was largely dismissed as a Terminator knock-off when it was first released back in 1990, but has since grown in popularity since rampaging onto home video (not to mention the internet). Much like 2000 AD itself, Richard Stanley‘s film masterfully disguises a poignant exploration of philosophical and social issues in a lovably schlocky and ultra-violent (not to mention ultra-entertaining) package, with a wicked sense of humor for good measure.

The original 7-page-long story, appropriately titled Shok!, was a simple tale of woman versus machine set against a familiar Mega-City backdrop. While Hardware is a somewhat faithful (though completely unauthorized) adaptation in that the main plot is still about a killer robot terrorizing an artist in her futuristic apartment, Stanley uses this as a jumping-off point to tell his own story about a dystopic future where life might not be worth living anymore.

The film expands on the characters and setup, giving us a better glimpse at this rundown, overpopulated world filled with radioactive deserts, terrifying scavengers and malicious government conspiracies as we follow Moses Baxter (Dylan McDermott) on his quest to find a suitable Christmas present for his metalworking artist girlfriend Jill (Stacey Travis). Unfortunately, Mo’s idea of gifting a pile of dilapidated cybernetic parts has disastrous consequences when the pieces begin to reassemble themselves into a self-repairing murderous robot.

The most badass of Christmas ornaments.

Though the film doesn’t stray far from Jill’s cruddy apartment, Hardware somehow manages to make the world of 2000 AD come alive in a way rivaled only by Pete Travis’s Dredd 22 years later. Featuring a kick-ass soundtrack and cameos from the late great Lemmy as a ferry driver and even Iggy Pop as the memorable voice of W.A.R. Radio, it’s amazing just how detailed this cyberpunk dystopia feels, despite the low budget.

Of course, the killer robot itself, here referred to as the M.A.R.K. 13, is also a huge part of why the film works. Every second it’s onscreen is a feast for the eyes, with wonderfully suspenseful chase sequences, top-notch effects and what is without a doubt one of the best killer robot designs I’ve ever seen. Incorporating nightmarish elements like spider-like venom injectors under the skullish head, not to mention its creepy multi-armed stance borrowed from the death goddess Kali, help to make this one hell of a memorable baddie. The creature’s horrific nature is only worsened once you realize that characters refer to it as a cyborg instead of android, hinting at an even more sinister backstory.

In a world filled with bland CG monsters and uninteresting backgrounds, it’s refreshing to see a film’s memorable set and character designs contribute to the story’s themes, especially considering the limited resources that the filmmakers had to work with here. The movie is peppered with haunting imagery, religious symbolism and even classical art references that make it stand out from your usual slasher flick. All this attention to detail only enhances the subtle social commentary that permeates the movie without making the script feel preachy, allowing it to focus on the more entertaining aspects of the story.

In another break from tradition, even the added robot fodder characters are interesting and well-developed, which makes their gruesome deaths all the more impactful. It’s truly amazing just how much tension the film manages to squeeze out of a single location without ever becoming boring, though by the end of the flick, Jill’s apartment looks more like a robotic abattoir than a futuristic home.

Nothing beats the robot-smashing power of a good old-fashioned baseball bat.

While I love Hardware to death, even I have to admit that it’s nowhere near a perfect movie. The awkward pacing definitely isn’t for everyone, and things get a little bit too psychedelic in a few sequences. Personally, I find the engrossing atmosphere and quirky characters interesting enough to be able to overlook these flaws, and the soundtrack is awesome enough to make even a paint-watching marathon seem entertaining, but I get that not everyone feels this way.

Even so, I can’t quite condone Stanley’s treatment of the source material in the making of this film. I may consider Hardware an improvement over the comic-book story that spawned it, but that doesn’t excuse swiping another writer’s story with no intent of crediting their work. Fortunately, this unlicensed adaptation became official after a lawsuit forced the filmmakers into crediting 2000 AD, though it’s still hard to imagine why Stanley thought that no one would notice the similarities just because of a few altered names.

Despite its initial reputation as a bootleg Terminator, I’m glad to see more and more fans popping up online to share their love for this amazing movie. I honestly can’t think of any other Sci-fi/Horror films so utterly devoted to telling a meaningful story without compromising the sleazy fun in the process, which is why I think it’s a shame that we haven’t seen many Hardware-inspired Cyber-Slashers since then.

In any case, M.A.R.K. 13 is sure to live on as one of the best slasher villains of all time, but also a haunting reminder of humanity’s tendency to put collective progress ahead of individual human lives. This may be a grim and brutally honest vision of the future, but I’d recommend it to anyone looking for a fun and insightful ride through a disturbingly plausible dystopia.

This is what you want, this is what you get!

Born Brazilian, raised Canadian, Luiz is a writer and Film student that spends most of his time watching movies and subsequently complaining about them.

Editorials

Fifteen Years Later: A Look Back at the State of Horror in 2009

Published

on

Pictured: 'Friday the 13th'

Can you believe it’s already been fifteen years since 2009? I feel older than Jason’s mother’s head. But never mind all that. We’re going to look into the past in celebratory fashion today and take a month-to-month look at what the world of horror looked like back in 2009.

The dreaded month of January kicked things off in usual January fashion with a forgettable title, The Unborn. A David S. Goyer picture that’s not very memorable but managed to be the sixth most successful horror film of 2009 domestically, raking in over $42 million at the box office.

Right behind it on the calendar was Patrick Lussier’s My Bloody Valentine 3D starring “Supernatural” actor Jensen Ackles. This slasher remake took the idea of January horror and embraced it, making a silly and gory slasher that was the world’s first R-rated film to ever use Real3D technology. Anyone looking for legitimate scares was probably pissed (the film has a 44% Rotten “Audience” rating) but genre fans had fun with it to the tune of over $51 million at the box office (on a $14 million budget).

Next up, releasing on January 30 was the sleepy PG-13 horror flick The Uninvited. For the life of me, I’ll never understand the choice to release a movie called The Uninvited two weeks after a movie called The Unborn; to be fair, most of us are unable to remember much about either of them.

The reboot of Friday the 13th was served up to us for Valentine’s Day Weekend 2009. A slasher movie that made a ton of money and had fans begging for a sequel… that never came. The Platinum Dunes reboot may not be universally beloved, but I know a fair share of fans (myself included) who thought the new Jason, Derek Mears, and team made a film that was both fun and brutal. And it was juicy enough to come in as the number three most successful domestic horror film in 2009 to the tune of over $65 million. Friday the 13th ’09 was nowhere near perfect but it was a damn fun time with some underrated Jason Voorhees moments and a sleek plan to tell Jason’s origin story quickly via flashbacks that some superhero franchises could learn from. Oh yeah, and it starred the other “Supernatural” bro, Jared Padalecki. I’m sensing a pattern here.

‘Last House on the Left’

Next up, yet another remake of a classic horror film: The Last House on the Left. Wes Craven wanted to see what his low-budget horror film would look like with a little walking around money and the results were that we, the audience, got to see a dude get his head microwaved. The critics weren’t huge fans but let’s be honest, it could have been a lot worse given the subject matter and lack of nuance in the 2000s. Last House went on to land itself in the top ten horror box office returns of the year.

March would also feature one of the many notches in Kyle Gallner’s horror belt, The Haunting in Connecticut, a movie with maybe too many generic possession genre moments to make a major dent in the status quo but enough to make it memorable. I’d take it over many of The Conjuring franchise spinoffs of today, personally. Though, they’re all very much alike.

April Horror would conjure nothing for audiences but Sam Raimi would bring the loud, scary, and funny back to the genre with Drag Me to Hell on May 29. This film that was somehow still PG-13 even with a cat murder, flying old lady eyeball, and mouth-to-mouth puke action was a blast to experience in the theater. Audiences agreed as the film ranked #7 on the horror box office of the year, cashing out at $42 million thanks to a loveable lead in Alison Lohman, the forever horror victim Justin Long, and some good old-fashioned, Evil Dead II-type fun.

‘Drag Me to Hell’

July would shock horror fans in a completely different way with adoption horror flick Orphan. The ending may have had all of us feeling super uncomfortable and shocked but the movie itself had adoption groups majorly upset at how the film depicted the dangers of adoption. So much so that the studio had to add a pro-adoption message to the film’s DVD. No matter, the performance of Isabelle Fuhrman would carry the film to a $41 million box office run and later spawn a decent prequel in 2022.

Speaking of collecting, The Collector was also released in July 2009 and was a pleasant surprise featuring a shitload of originality and some scares to boot. Yet another horror success that would make $10 million on a $3 million budget and spawn a sequel. We’re still waiting on third installment, which abruptly stopped shooting several years back under strange circumstances.

The fourth Final Destination film graced us with its predestined presence in 2009 as well with The Final Destination; the 3D one with the race car track opening. The film was (stop me if you’ve heard this one before) a financial success, raking in over $186 million (worldwide) on a $40 million budget.

Rob Zombie went Rob Zombie’ing as hard as he’s ever Rob Zombie’d with Halloween II later that month. He’d Rob Zombie so hard that we wouldn’t see Halloween on the big screen again until almost ten years later with Halloween 2018. And nothing controversial ever happened in the franchise again. *Shuts book* Stop trying to open it! NO! NOOOOOOOO!

‘Halloween II’

Another remake in Sorority Row was the first film to follow Rob Zombie’s divisive stab-a-thon with a schlocky Scream-esque slasher flick that had a good enough time and even boasted a few neat kills. Critics weren’t fans of this one but if you were? You’ll be happy to hear that writer Josh Stolberg just announced he’s working on the follow-up!

Sexy Horror September continued a week later with Jennifer’s Body and an all-new, emo kind of Kyle Gallner. Jennifer’s Body didn’t exactly crush it for the critics or the box office but has success in its own right and is considered somewhat of a cult classic thanks to some hilarious writing and leading performances from Megan Fox and Amanda Seyfried. Also, shout out to Adam Brody’s band Low Shoulder. Machine Gun Kelly could never.

Part of the low box office for Jennifer’s Body could have had something to do with what came next as Paranormal Activity would rock the horror world a week later. The genius marketing of the low-budget film would feature clips of audiences on night vision cameras losing their minds. Whether it scared you to death or you found the entire concept ridiculous, you had to see it for yourself. Paranormal Activity would bring in almost $200 million worldwide on a 15 THOUSAND dollar budget. I’m no mathematician but I’m pretty sure that’s good. The horror game changer may just be the most remembered of all the 2009 films and it’s one every studio in the world wanted to replicate.

Paranormal Activity game

‘Paranormal Activity’

One film’s game changer is another film’s flop as Dennis Quaid and Ben Foster’s space horror Pandorum had the unfortunate scheduling of lining up against Paranormal Activity on that fateful day and in turn, being mostly forgotten.

Spooky Season 2009 kicked off with the beloved horror-comedy Zombieland in October, complete with Jesse Eisenberg’s meta-rules for surviving a zombie apocalypse, Bill Murray, and Woody Harrelson who just wanted a fuckin’ Twinkie. There’s nothing like a good horror comedy and Zombieland proved that all the way to the bank, making $74 million domestically en route to a second film that brought back the entire cast.

It’s only been twelve seconds since I said the word remake, so let’s fix that. The Stepfather remake would follow a week later and be met by an audience getting a little sick of them. Unlike some of the other spirited remakes that surrounded this era in horror (not that they ever stopped), The Stepfather felt like an uninspired retread of the understated but completely messed up 1987 Terry O’Quinn horror cult classic. It’s largely been forgotten over the years.

“Who am I here?” Oh yeah, it’s October in the 2000, there’s bound to be a Saw movie around here somewhere. Saw VI would be released on the 23rd of October and continue the story of Detective Hoffman while adjusting the rates of some shady insurance adjustors. Saw VI would also fall victim to a little bit of Paranormal Activity mania with the film being bested by the continued rollout of its predecessor. Things were looking a little bleak for the franchise at this point. Probably none of us would have imagined that fifteen years later we’d be talking about the same director (Kevin Greutert) returning for the eleventh movie in the franchise.

The House of the Devil

‘The House of the Devil’

After all these humongous box office successes, sequels, and remakes it would be three memorable indie flicks that would round out October of 2009; the ultra fucked up Willem Dafoe, Lars von Trier sex/horror flick Antichrist, followed by Ti West’s ’70s haunter The House of the Devil and rounded out with some Australian torture horror in Sean Byrne’s The Loved Ones. All three movies each make their mark in their own special ways. What a way to end October.

But it was November that would bring the movie that scared me more than any other on this list: The Fourth Kind. A lot of you are assuredly rolling your eyes right now but this one messed me up on a cellular level despite it being a complete and total fake. The Fourth Kind decided to meld a traditional horror film with the stylings of The Blair Witch Project in an opening designed to make you believe it was based on a true story. An embarrassing attempt but the film itself had me afraid to sleep near windows at night after seeing those found footage abductions. It still messes with me, to be honest. WHY ARE THEIR MOUTHS STRETCHING SO MUCH?!?!

December was too busy doing Avatar and Alvin and the Chipmunks-type family affairs for any horror movies but even without it, 2009 was quite a year for horror. I’d be remiss if I didn’t at least mention some other memorable films that were released either straight to video, limited or overseas that year including Case 39 (that oven opening!), Exam, Daybreakers, Splice, Dead Snow, The Hills Run Red, The Descent 2, Blood Creek, Cabin Fever 2 and [REC] 2.

What were your horror favorites from 2009? Comment below and let us know!

‘My Bloody Valentine’

Continue Reading