Van Damme In Cyborg Movie

Van Damme In Cyborg Movie

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I am not sure I remember the opening words of \"Cyborg\" exactly, but I believe they were, \"After the plague, things really got bad.\" I do remember laughing heartily at that point, about 30 seconds into the movie. Few genres amuse me more than post-apocalyptic fantasies about supermen fighting for survival. \"Cyborg\" is one of the funniest examples of this category, which crosses \"Escape from New York\" with \"The Road Warrior\" but cheats on the budget.

The movie takes place in a future world in which all civilization has been reduced to a few phony movie sets. Leather-clad neo-Nazis stalk through the ruins, beating each other senseless and talking in Pulpspeak, which is like English, but without the grace and modulation. It's cold in the future, and it's wet, but never so cold or wet that the costumes do not bare the arm muscles of the men and the heaving bosoms of the women.

The plot of \"Cyborg\" is simplicity itself. The movie's heroine (Dayle Haddon) is half-woman, half-robot, and wears a computer under her wig. Her knowledge may include the solution to the plague that threatens to destroy mankind, but first she must somehow return to headquarters in Atlanta. Her enemy, Fender Tremolo (Vincent Klyn), wants to destroy her because he believes that if anarchy is unleashed upon the world, he can rule it. The hero, Gibson Rickenbacker (Jean-Claude Van Damme) is on a mission to escort her safely to Atlanta.

(If you look at the names \"Fender Tremolo\" and \"Gibson Rickenbacker\" and wonder why they set off strange stirrings in your subconscious, it is because both characters, according to the movie's press book, \"are named after equipment and techniques associated with electric guitars.\" This rule presumably also applies to the characters Furman Vox, Nady Simmons and Roland Pick.) Once we know the central players, the movie turns into a sadomasochistic passion play, in which the village tries out varieties of unspeakable tortures on the hero, including crucifixion, before the formula is (of course) delivered safely after all. The movie reduces itself to a series of smoking, smoldering cityscapes (which look a lot like urban neighborhoods slated for renewal), and the Pulpspeak is the usual combination of vaguely Biblical formalisms, spiced with four-letter words and high-tech gibberish.

Movies like this work if they're able to maintain a high level of energy and invention, as the Mad Max movies do. They do not work when they lower their guard and let us see the reality, which is that several strangely garbed actors feel vaguely embarrassed while wearing bizarre costumes and reciting unspeakable lines.

In 1989, Jean-Claude Van Damme was riding high off the unexpected success of Bloodsport. At the same time, The Cannon Group saw their fortunes declining fast after losing a ton of money on would-be blockbusters Lifeforce, Masters of the Universe, and Superman IV: The Quest for Peace. Enter director Albert Pyun, who Cannon Films hired to direct both the hoped-for Spider-Man movie and a low-budget Masters of the Universe 2, which would have starred surfer Laird Hamilton. Eventually, Cannon decided to ditch both projects, opting to take the 2 million dollars worth of sets for Masters of the Universe 2 and return to their tried-and-true low-budget action movie formula, making a post-apocalyptic action flick.

Scripted by Pyun and Daniel Hubbard-Smith, Cyborg has the following synopsis: In a future beset by chaos and violence, mercenary Gibson Rickenbacker is charged with a mission that could change everything: protecting beautiful cyborg Pearl Prophet. She holds the cure for a deadly disease that could destroy humanity, and must get it to scientists in Atlanta. But warlord Fender Tremelo, fearing that his power will be undercut by peace, intends to make sure she never reaches her destination.

Cyborg (known in director's cut under working title Slinger) is a 1989 science fiction post apocalyptic film starring Jean-Claude Van Damme as a mercenary who while traveling the wasteland of what was the Eastern United States finds himself protecting a woman who could hold the key to restoring humanity. The film was written (under pseudonym Kitty Chalmers; utilizing previously written scripts Johnny Guitar and Alex Rain) and directed by Albert Pyun in a production which re-purposed costumes and sets already made for cancelled projects Spider-Man and Masters of the Universe 2. At some point during pre-production movie was indeed pitched as Masters of the Universe 2: The Cyborg, a sequel for Masters of the Universe with He-Man as a protagonist. It is sometimes shown on television under that title as well. This film would serve as the first of a trilogy of features, which included two more non-JCVD-starring sequels, including 1993's Cyborg 2, which featured a young Angelina Jolie.

Most of the firearms seen in the movie were made out of Tippmann SMG-60 paintball marker or just re-purpose it as a mock-up firearm as it is. Both Gibson Rickenbacker (Jean-Claude Van Damme) and Fender Tremolo (Vincent Klyn) are seen carrying multi-barreled (Gibson's has four barrels, while Fender's six) rotary firearms based on SMG-60. Two pirates from Tremolo's gang are seen using the gun in its original form.

At the end of the 80's, cult studio Cannon had the ambitious plan to produce a sequel to Masters of the Universe and a Spider Man movie simultaneously. Albert Pyun was supposed to direct both features at the same time.

While Pyun eventually accepted to work in a more conventional way, the first test screenings revealed that the work still wasn't mainstream enough. In October 1988, Jean-Claude van Damme then took a shot at editing the movie himself.

Sheldon Lettich: \"Cannon had a test screening of the original cut of \"Cyborg,\" which I attended. Out of 100 people in the test audience, only 1 person gave the movie a favorable rating. It doesn't get much worse than that, except for the fact that the audience was laughing hysterically during the final fight between Gibson and Fender. A few days later JC returned from Thailand, where he had just finished filming \"Kickboxer.\" He watched the film and agreed with the test audience's assessment, and then he volunteered to re-cut the movie, for free.\" (Source)

The Cyborg part is quite unimportant but is a better fit as a film title, of course. We see the cyborg briefly with the robot head and as an eye is installed. At least the DC adds a robot voice which is missing in the Theatrical Version. The cyborg component and the title are pure marketing tools. Albert Pyun would have liked to name the movie Slingers which is the job description of Jean-Claude van Damme's character. Slingers help refugees to escape the city into the rural areas.

On the one hand, the most cuts were probably made during Fender's attack on the colony. The problem here is that this sequence is completely missing in the DC. Did Pyun really not want this in the film at all On the other hand, there are several violent scenes that cannot be found in the DC. But there are still some additional violent moments in the DC which were probably censored for the \"R\" rating. However, it cannot be considered a \"full-on\" uncensored movie experience.

Looking at the content, both versions have advantages and disadvantages. The Theatrical Version makes more sense than the DC but is the more generic movie. The DC is more ambitious but fails to meet its own standards or due to the lacking abilities of those involved. The DC's music is considerably better.

In the future, anarchy, genocide, and starvation preceded The Plague, which wiped out an untold proportion of the population. A group of scientists in Atlanta believe they can find a cure, if only they could get the information lodged inside a cyborg in Manhattan, fleeing a gang of bullies.

In New York, Fender captures the cyborg and transports her to Atlanta. He plans to use the information the cyborg contains to make himself into a god amongst men, capable of doling out life and (most likely) death.

[We're celebrating some of the most memorable horror and sci-fi movies of 1989 this month in Daily Dead's Class of 89 retrospective series! Check back on Daily Dead throughout the rest of August for more special features celebrating the 30th anniversaries of a wide range of horror and sci-fi films!]

A mysterious plague has ravaged a post-apocalyptic world. The innocent are forced to live on the run, evading a deadly gang of murderous marauders who kill for dominance in the burnt remains of the world. But there is hope. A cure is being developed in Atlanta and the final critical information is stored inside a cyborg named Pearl Prophet (Dayle Haddon). However, Pearl must escape New York City and the closing grasp of Fender Tremolo (Vincent Klyn), the leader of a group of slaughterers who wants the cure to solidify himself as the deity who saved the new world. Pearl, on the run, finds hired support from a lone gunman named Gibson Rickenbacker (Jean-Claude Van Damme). Gibson is a skilled fighter who has been hunting Fender for massacring his entire family.

By 1989 Jean-Claude Van Damme had yet to attain worldwide star-status that would come just a few years later. His most notable role up until then had been in Bloodsport, not a film that taxed his limited acting skills, to say the least. Things did not get much better in Cyborg, in which the Muscles from Brussels struggles to show much character or emotion other than melancholy. Of course, melancholy can be communicated via blankly starring off in the distance, something Van Damme certainly accomplishes with aplomb. One is forgiven for thinking he is playing the titular machine. Nay, the star is mostly served by all the action stunts required of him, many of which are solid if unspectacular. Offering North American audiences an action movie in which the hero is supposed to be a martial arts expert is a tricky proposition. For whatever reason, many filmmakers seem unsure how to capture the rhythms and powerful grace of the martial arts, therefore preferring to showcase them with as slow a pace as possible, which is essentially what viewers get here. Van Damme can definitely raise his legs mighty high and is evidently a physical beast to contend with, but it would be foolish to expect Cyborg to provide the best the man has to offer. The action is serviceable, just not top tier, although that is to be expected in a B-movie. 59ce067264

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