Weirdhouse Cinema: Mutant Hunt

In this episode of Weirdhouse Cinema, Rob and Joe explore the slimy cyberpunk world of 1987’s “Mutant Hunt,” directed by Tim Kincaid. It’s a near-future in which drug-mutated cyborgs ravage the streets of direct-to-video New York City.

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Episode Transcript

Speaker 1 (00:02):
Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

Speaker 2 (00:13):
Hey you welcome to Weird House Cinema.

Speaker 3 (00:15):
This is Rob Lamb and this is Joe McCormick.

Speaker 2 (00:17):
And today we have a pretty fascinating slice of low
budget nineteen eighties New York City grimy genre cinema. It
is nineteen eighty seven's Mutant Hunt, a movie just so
so grimy, so covered in a patina of sleeves, but
without really featuring much in the way of grimy or
sleezy content. It is a near future dystopian cyberpunk adventure,

(00:43):
full of many of the familiar bells and whistles, you know, cyborgs,
bounty hunters, sunglasses at night, pleasure droids, advanced mobile personal
computer devices. It's absolutely as derivative as many other entries
in this subgenre. But at the same time, I just
really admired the hustle of this film. You know it

(01:03):
you know, clearly made with you know, gorilla style. I'm guessing,
with a lot of you know, just finding locations, shooting it,
trying for like really getting ambitious with some of the
things that it attempts to do with a limited budget,
but with you know, clearly some scrappy special effects artists,
and it trots out a few genuinely coolerly and even

(01:25):
thought provoking ideas and just really goes for it with
wild plot twists and effects, even as you can just
feel the budget strain underneath the vision.

Speaker 3 (01:34):
If only we lived in this movie's version of the future.
When it comes to mapping software, where oh god, yes, yeah,
they've got these mapping programs that tell you how to
get somewhere, and it just shows basically an outline of
Lower Manhattan from space with no streets or words or
like text or any topography at all, just an outline

(01:57):
of the land mass and then an X in the middle.
Love it.

Speaker 2 (02:00):
Yeah, oh there, yeah, Manhattan Island and this is where
I roughly am on it.

Speaker 3 (02:04):
Yeah.

Speaker 2 (02:05):
It's great because on one hand, the way that the
this this technology is used in the film like it
is actually spot on. This is exactly how we get
around today, you know, and I think any of us
that have gone to New York City, you find yourself
moving around in New York this way, checking your device,
seeing where you are, but with a lot more detail.

(02:26):
So they I.

Speaker 3 (02:27):
Should have put the streets on there. Yeah, that's a
good idea.

Speaker 2 (02:30):
Yea, the streets been a good addition, but yeah, instead
of just Where's Land and wears Water?

Speaker 3 (02:37):
But yeah, there's a lot of good stuff in this movie. Actually,
it is quite funny in how most of it is realized.
But every now and then I was thinking like, well,
that could be an idea from a much more complex,
more interesting film. Specifically, I know you Flagged, and I
have the same thought that the esp of the cyborgs

(02:58):
was kind of interesting.

Speaker 2 (02:59):
Yeah, yeah, yeah, This idea that the killer cyborgs have
some sort of limited esp so if you begin to
hunt them, they will detect this and they will begin
to hunt you back. Yes, kind of reminds me a
little bit of some of these thought experiments concerning future AI.
You know Roco's Basilisk, that sort of thing.

Speaker 3 (03:17):
Where like the danger occurs to you once you are
aware of the of the robot as soon as you
know about it, it knows that you know about it,
and now it's coming to get you.

Speaker 2 (03:28):
Yeah, and you want like, at what point do they
hunt you? Like, how serious do you have to be?
Is it just like if you would it would have
just a journalist suddenly be hunted by the Cyborgskau. They're
investigating the cyborg killings.

Speaker 3 (03:40):
I don't know, what if it just crossed your mind
that you might be hunting the cyborgs but you're not
very committed to it, do they still come and get you?

Speaker 2 (03:48):
I don't know. It's one of these ideas that I
think is probably here in large part to just sort
of grease the plot things along, but it really does
raise some interesting questions. Yeah, Also in general, I like
this grizzly concept of cyborgs whose organic components have been
mutated beyond recognition by altered like like futuristic altered rave drugs.

(04:12):
It's I don't know, it's just such a bombastic concept
and I don't know, and kind of thought provoking in
its own ways. If you're dealing with a cyborg where
it's not just terminator style where the flesh is on
there just as decoration, but if you have an integrated
system of organic and mechanical parts, then you know it
makes sense that it would It could be messed with,

(04:33):
It could be hacked on a technological level, but also
on an organic level.

Speaker 3 (04:38):
I just had to go searching in my notes because
I remembered something and maybe it's good to bring this
up now. At the beginning, did you notice how it
almost seems to be the case in this movie that
there's a correlation between how gooey a cyborg is and
how strong or formidable it is supposed to be. Like

(04:58):
the more that a cyborg is dripping slime, the wetter
it looks, the more powerful it is.

Speaker 2 (05:05):
Absolutely. Yeah, by the end of the film, we will
see one that is supposed to be mutated quote beyond recognition,
but is just a slimy, sneering ness of a cyborg
at this point, just a real, real slimy, slimy creature.

Speaker 3 (05:20):
Yeah, it's got kind of a flap that's got half
of its mouth stuck together. It's just dripping orange juice concentrate.
And yeah, this is the strongest one it's been incubating. Actually,
the character Domina has it in like a mummy chrysalis
in her room and is she's cooking it for a while.

Speaker 2 (05:39):
I guess that's right.

Speaker 3 (05:40):
Yeah.

Speaker 2 (05:41):
And the other thing I love about the film is,
of course the futuristic grave drug U four on being
a major plot point. I'm kind of a sucker for
any sci fi property that has a sci fi drug
in it, and this one has it in space.

Speaker 3 (05:54):
Does it do anything all that unusual for the humans
who use it or does it just turn cyborgs into
mutant cyborgs? But in humans just makes you feel good?

Speaker 2 (06:04):
Yeah, I think in humans it's just like some really
good rave drug. You know, it's like some sort of
I don't know if it's like an like MDMA or
it's like an opiate or something, or some sort of
combination of the two. But it makes you feel really good.
And the people who are you four on enjoyers are
really into it, and they they are offended if you

(06:25):
if you actually try and disrupt the supply.

Speaker 3 (06:29):
Yeah, it's administered in the ear. I thought that was funny.
Real drugs you put in your ear with a little dropper.

Speaker 2 (06:36):
I mean yeah, if you have like ear problems. I
guess I don't know about recreational drugs that go in
the ear, but maybe I'm just naive, all right, Yeah,
Mutant Hunt. I first saw this years ago. I think
I found it amid the various B movies that used
to populate Amazon Prime, back when they just seem to

(06:56):
have like a dump truck of slock was unloaded into
their servers and while they don't have the Sledge selection
they used to, you can still stream Mutant Hunt there
as of this recording, at least in the US, I
don't know about other regions, still absolutely holds up in
its sort of decayed format. This is like kind of
grimy film quality cigarette stains, you know, cigarette burns, rather

(07:21):
on the footage. But this is the sort of film
where I absolutely believe it's rewarding in general to watch
any film in the best quality possible, and I still
stand by that, but with a film like this, it
can also be rewarding to watch it in sort of
grimy the footage as well.

Speaker 3 (07:38):
Yeah, it feels right to watch the stream that's available,
which is it looks like a rip from a VHS.
But if you go look up the stills that have
been put out by the Vinegar Syndrome release that has
this movie in high quality, it takes on a new
level of comedy to see all these costumes and sets
really crisp. But they were never meant to look this way.

Speaker 2 (08:00):
Yeah, And at the same time, I have to say,
in the higher quality stills you'll find some of it.
You get a better you get a better sense of
of what they were going for, and you can admire
some of the lighting choices and the costumes and the
tree definitely. Yeah, So you know it goes both ways.
So yeah, this one's widely available for streaming or digital
viewing right now if you want to see it for yourself.

(08:22):
But yeah, Vinegar Syndrome put out a really nice looking
blu ray with fun extras, and the film itself is
scanned and restored in four K from its thirty five
milimeter original camera negative. Looks great again. I watched the
scuzzy video version of it, but now I really want
to pick up this Blu ray as well next time
I'm doing a Vinegar Syndrome order.

Speaker 3 (08:51):
Okay, should we talk about the connections? Yeah?

Speaker 2 (08:54):
Yeah, absolutely. Starting here at the top with the writer
and director, it's Tim kim Kay born nineteen forty four,
a very interesting figure in genre film history. Kin Kaid's
most notable contributions to cinema were actually outside of mainstream
or even low budget genre features like this, and was
actually that they were actually in the world of adult cinema.

(09:17):
Under the moniker Joe Gage, he was one of the
most influential and successful directors of gay adult cinema of
the nineteen seventies and early nineteen eighties. This is a
period often referred to as a kind of golden age
of adult content before the full advent of video, a
time when films tended to feature characters, plot, and sometimes

(09:39):
proved quite ambitious in their vision. You know, there were
attempts to do things that were artful, subversive, and so forth.
At worth noting as well that gay hardcore material had
only become legal in the US in the very early
seventies on the heels of stone Wall, so Kim Kaid
was really kind of a pioneer of sorts as well.

(10:00):
And from what I've read, Kincaid's biggest contribution as Joe
Gage was in his presentation of same sex encounters involving
blue collar, working class American characters that defied stereotypes were
at the same time validating and also depicted same sex
encounters as not merely a gay thing, but a broader
human thing, often involving characters that are not presented as

(10:23):
expressly gay in their identity. As Conrad Brewster put it
in a twenty eleven post at the Gay and Lesbian Review,
Joe Gage films weren't trying to represent the entire spectrum
of gay and bisexual life in the seventies and eighties.
His focus was specific, but at the same time highly
successful and influential, and his work could also apparently be

(10:45):
subversive and artful in its own way, so kin Kaid.
Before all of this, though, Kincaid's first film was a
nineteen seventy three straight sexploitation film titled The Female Response,
and this was right before his first ground raking foray
into gay adult cinema with nineteen seventy six is Kansas
City Trucking Company, starring Jack Wrangler and Richard Locke. This

(11:10):
was the first of his so called Kansas City trilogy.
I'm not going to go through all of his adult titles,
but these are historically of significance. This era of his
films he directed his gauge, occasionally directed under another pseudonym,
and this continued till around nineteen eighty five, and this
is when Kincaid made a shift to writing and directing

(11:31):
low budget genre films outside of the adult industry. And
I've read that at this point he was also married
and had young kids and wanted to focus on work
outside of that industry, and his wife at the time,
Cynthia Depalla acted as producer. So the first of these
films getting into this B cinema era, and this is

(11:54):
definitely the era that we find Mutant Hunt in. The
first of these films was eighty six Bad Girls Dormitory.
This is a woman's prison exploitation film shot guerrilla style
in New York City that he apparently offered to Charles
Band and Band reportedly passed said thank you, but no thanks,
but he was interested and he said, look, tell me

(12:17):
what you have planned, and they started talking, and this
led to Band serving as EP on several of his
pictures from this period, including Mutant Hunt.

Speaker 3 (12:25):
Yeah, it's interesting to think how exactly Mutant Hunt fits
in with the standard Charles Band world DNA imprint. It
is not like movies like Metal Storm, The Destruction of
Jaredson or Dungeon Master, where I don't know, you can
watch a minute of it and you're like, this is

(12:45):
Charles Band. This is like the Charles Band zone. You
just know it's not like that, So I wouldn't have
I immediately identified it as a Band associated film. But
also it fits right in there when you have the
knowledge that Charles Band World, that feels right.

Speaker 2 (13:02):
Yeah. I mean it also makes sense that it's kind
of adjacent to the Troma world without actually being a
trauma picture or having that sort of the goofiness and
self awareness that you often find in some of the
Troma or maybe the most popular of the trauma films.

Speaker 3 (13:17):
Yeah.

Speaker 2 (13:18):
So he followed up Bad Girls with Breeders in eighty six,
a grimy, sounds kind of nasty film about alien impregnations
in the New York City subway system. And after this
came nineteen eighty seven's Robot Holocaust, which MST three K
fans know all too well. It's been a long time
since I've seen the riff of that, but now I

(13:39):
kind of want to revisit it on its own now
that I've refamiliarized myself with Mutant Hunt.

Speaker 3 (13:43):
I think that's like Season one, isn't it.

Speaker 2 (13:45):
Yeah, it's pretty early early days. Yeah, and then came
today's film Mutant Hunt. After Mutant Hunt, he did the
eighty seven film Riot on forty second Street. This was
a crime movie starring Jeff Fayhee, And then nineteen eighty
eight He's The Occultist, in which quote, a cyborg private
eye is hired to protect a Caribbean president visiting New

(14:06):
York City from Sadistic Sorcerers. I've not seen it, but
that sounds amazing. I like all that. And then finally
he did nineteen ninety one's She's Back, a supernatural, dark
comedy that seems to be his most truly mainstream work
about an electrician haunted by his dead wife's ghost and

(14:26):
urged to take revenge on a gang of criminals. And
it starred Carrie Fisher and Robert Joy.

Speaker 3 (14:31):
Hard to believe that the director of Mutant Hunt made
a Carrie Fisher movie.

Speaker 2 (14:35):
Yeah, it's crazy. Right after this, Kincaid returned to adult
cinema from I believe two thousand and one through twenty seventeen,
possibly eighteen, as far as the main movie database listings go.
Eventually one of his now grown up sons did some
music scoring for some of these films, but at this
point I believe Kincaid is retired. He also wrote a

(14:55):
couple of novels and directed an off Broadway play called
Naked Highway in nineteen eighty three. I was even able
to find the playbill for this on eBay.

Speaker 3 (15:04):
You know, I want to say about Mutant Hunt that
you never really know for sure, and maybe I could
read stuff about behind the scenes stuff and find out
I'm totally wrong, But this feels like a movie made
on a set that was a lot of fun, you
know what I mean, Just that energy comes through. It
seems like in between takes the actors were probably joking

(15:26):
around a lot. It just feels like a fun, lively
environment and maybe like they're not taking it too seriously
and everybody's cutting up and having a good time.

Speaker 2 (15:37):
Yeah, And I think probably also important to stress, I
feel like this is a film where everybody was probably
excited about filmmaking. You know, there were a lot of
people that I think were maybe dipping their toes into
cinema and maybe decided to get back out afterwards. But
you know, that's an exciting time when you're trying something new,
or you know, you're trying something different, and certainly with

(16:00):
with the you know, presumably the gorilla style filmmaking that
was being employed here, that's also going to keep you pretty,
That's gonna keep you on your toes for sure.

Speaker 3 (16:09):
Yeah.

Speaker 2 (16:11):
All right, well let's get into the cast here. I'm
gonna I'm gonna basically go in billing order, but also
kind of divide things up among the factions. Because this
is a cyberpunk film, you got to have your factions.
First of all, let's talk about the bounty hunters, Matt
Reiker and associates, starting with Matt Riker, the world's greatest

(16:31):
mercenary and bounty hunter. What a guy, What a guy.

Speaker 3 (16:35):
This guy is a gentleman of beef, as we might say.
But he just looks great in a pair of tidy
whities and they'll they'll treat you to that over and over. Yeah.

Speaker 2 (16:45):
Yeah, Matt Riker played by Rick Jiannasi. Like a lot
of the actors in this film, I have no idea
how old this guy is. No dates available, yea. Though
he's one of the actors that did appear in many
different things. A frequent face in Kincaid's mainstream work, he
appears in Bad Girls, Dormitory, Robot, Holocaust, Riot on forty

(17:08):
Second Street, and The Occultist. And after this he went
on to play his most famous role, that of Harry
Griswold in the nineteen ninety Troma film Sergeant Kabuki Man NYPD.
The character Harry Griswold is also the title character in
that film. Okay, His other credits include eighty nine's Pose
for Murder, ninety six's Fatal Frames in two thousands, Time Quest.

(17:32):
He also did episodes of Another World Star, Trek Voyager,
Caroline in the City, Felicity, and Days of Our Lives.
So yeah, I would say pitch perfect beef performance here.
You know, he's earnest, he's reserved, he's not annoying really
for this movie. Perfect performance.

Speaker 3 (17:51):
You've probably never seen a movie before when a guy
in just blinding white briefs and nothing else pulls a
crossbow off the wall and shoots a robot with it.

Speaker 2 (18:01):
That's right. I mean again, he's the best, but even
the best needs some help from time to time, and
that's where his right hand man comes in, or at
least the right hand man for this film, Johnny Felix.

Speaker 3 (18:12):
I love Johnny Felix. Every time Johnny Felix is on screen,
I just feel like everything's going to be okay.

Speaker 2 (18:18):
Yeah, Johnny Felix seems to He's a cool cucumber. He's
got it under control, you know, ready to jump in
with some kicks or some tech, whatever the situation requires.

Speaker 3 (18:28):
He has a good, lively, joyful reaction almost to seeing
things that are about to kill him, Like when the
cyborg is coming their way and starts smashing his hand
through the concrete, Johnny Felix just goes, WHOA Okay.

Speaker 2 (18:44):
Also, in a world of seemingly ubiquitous cyborg activity, he
doesn't know what the word cyborg mean, Like it's like,
what do you call these things?

Speaker 3 (18:56):
I was confused by that because I thought his one
of his main jobs was hunting down cyborgs. It seems
like that's what they do. But he can't remember the
word cyborg. He calls them jelly heads.

Speaker 2 (19:07):
Maybe it's like really deeply he is something he doesn't
like about the term, and he refuses to use it,
like they're not technically cyborgs. I don't use that term
something like that.

Speaker 3 (19:17):
But Darla takes offense to this, this other character. She's like,
they're called cyborgs.

Speaker 2 (19:21):
N Felix did it right? Yeah? So Johnny Felix is
played by Ron Ronaldi here. He followed this up with
Riot on forty second Street, and he's also in the
eighty seven David a prior film Man Killers, and he
also has a small uncredited role in twenty In two
thousand and two, writers analyze that. He also did a

(19:41):
little bit of stunt work, which is not surprising because
he's throwing some mean kicks in this film. Yeah, all right,
And then we have Elaine Elliott. This character is a
dancer by night, also bounty hunter by night and private
op by night. I don't know what she does in
the day, it's not important, is.

Speaker 3 (19:57):
It a private op? I thought she's a public op.
She's a fully candidated government whatever. You remember that line.

Speaker 2 (20:05):
Yeah, she's like globby gobbedy.

Speaker 3 (20:08):
Given there, I had to pass tests for my government
accdidation of being an op.

Speaker 2 (20:13):
Okay, she's she's above bar and also below bar. She's
great whatever kind of job you need her for. Elaine
Elliott is played by Tani Vrennan. This was her first role,
and she went on to work in in Riot in
eighty eight's The Big Blue eighty eights, war Board, war Birds,
and ninety one Switch. She also popped up on the
TV shows Night Court and Beverly Hills nine O two

(20:36):
one zero.

Speaker 3 (20:36):
She also seems like she's having a good time on set. Yeah,
almost laughing while she says a lot of her lines.

Speaker 2 (20:42):
Yeah, and again I thought her performance is perfect for
this film. Oh yeah, no notes. All right, Now, let's
move on to the villainous faction of Intel Tracks, intel Tracks,
intel Tracks or in yeah say they say it different
ways they do Yeah. At one point it is intel Tracks,

(21:04):
So I'm not sure how we're really supposed to stress this.

Speaker 3 (21:06):
I think we also get Intel Tracks, yea, intel Tracks. Yeah.

Speaker 2 (21:11):
The CEO, I guess, or tyrannical ruler of Intel Tracks
is Z just just single letters? Z?

Speaker 3 (21:21):
Is he doctor Z? As in bloodwaters of bloodwaters of
or just Z?

Speaker 2 (21:26):
I think he's just Z. I would I thought about
Bloodwaters of Doctor Z a lot, which, as if you
remember from our episode, doesn't actually feature a character named
doctor C. But what doctor Leopold is his actual name
in that?

Speaker 3 (21:40):
Oh? I forgot about that.

Speaker 2 (21:41):
Yeah, but one of the alternate titles was Bloodwaters of
Doctor C, So it's okay to call him doctor C.
It's fine. But this Z is played by Bill Peterson.
Peterson was also in Bad Girls Dormitory, and that's really
about it. IMDb contains an incorrect reference to him in
a Rose Marie documentary which I spent way too much time.

(22:02):
I think I like scanned through most of the documentary
looking for this guy because they found it on Tube,
only to realize, oh no, no, they had him confused
with legendary trumpetear Bill Peterson. Different guy entirely. So this
Bill Peterson is another one of these actors where it's like,
who knows who this guy was and what he did
and how he ended up doing these couple of films.

(22:24):
But I love him here. He has a real villainous,
amazing Chris Well vibe. And he's also, like some of
our other notable characters, seems to be wearing like Rick
Owen's designs the whole time, like very gothy and black
and sleek and shiny.

Speaker 3 (22:38):
He looks like he's dressed like a stag Beetley. He's
got the yeah, the black ribbed armor with the big shoulders.
I love Zi's energy. He has a smug, unctuous, unctuousness
about him, often with his chin held up real high.
He's a bit haughty, and he's often just standing in

(22:58):
a room with his arms folded behind his back before
the action begins, and then he gets a phone call,
so I guess he just stands like that in its downtime.

Speaker 2 (23:08):
Yeah, often just commenting on his master plans to inject
cyborgs with club drugs and then enjoy the chaos. Yeah,
and profits.

Speaker 3 (23:16):
That's right.

Speaker 2 (23:18):
Let's see other people in his operation. At least at
first we have doctor Paul Haynes is one of his
cyborg designers and the architect of the Delta seven line
of cyborgs that will be important, played here by markmi Emilli.
Was also in Bad Girls as well as the nineteen
ninety nine vampire film Cold Hearts. Then doctor Paul Haynes

(23:40):
has a sister, Darla Haynes. This film has a lot
of characters for it's a limited scope really, but yeah,
we have Darla Haynes played by Mary Fahee. This is
Jeff Fayy's sister and her only other credit is Riot
on forty second Street. This is Jeff Ahee's sister. Yeah,

(24:01):
that's what's That's what the internet says.

Speaker 3 (24:04):
Yeah, wow, amazing.

Speaker 2 (24:05):
Yeah. Again, another one of these cases where I guess,
you know, I don't know her full history and what
she went on to do, but for a brief period
of time she's like, let me try the cinema thing out.
Let's see if it fits. So Matt Reiker, Johnny Felix,
Elaine Elliott, and Darla Haynes. They're gonna end up composing
our core group of four heroes, and I can't help
but think of them as selectable characters in an arcade

(24:28):
beat him Up like the old Teenage Mutant Ninja Turtles
or the X Men game. And indeed, this whole film
very much has a side scrolling beat him Up energy.

Speaker 3 (24:36):
Absolutely, yes, it is in that Ninja Turtles fighting game zone.

Speaker 2 (24:41):
It feels like that, yeah, yeah, and has lots of slime.

Speaker 3 (24:44):
Even some of the costumes look like they would fit
into that world.

Speaker 2 (24:48):
Yes, yeah, there's there's one character We'll come back to.
One of the cyborgs really does look like probably multiple
characters from Teenage Mutant Ninja Turtles.

Speaker 3 (24:58):
One of the cyborgs looks like Kraying's android body. Yeah,
that build? Yeah?

Speaker 2 (25:04):
Or which one was the is it? Which was a
Bebop a rock Steady? Which one was You're right, yeah, Bebop? Yeah.
It kind of looks like a pre mutation Bebop, all right. Uh,
you can't have just two factions in a cyberpunk story.
We also have what I'm calling Team Domina, led of

(25:24):
course by Domina. This is Z's rival, and I think
something of a cyborg originator. She takes credit for everything,
for all of Z's success in the cyborg world.

Speaker 3 (25:34):
Yeah, he stole everything from her. Yeah. Uh.

Speaker 2 (25:37):
Domina is a euphoron enjoyer and what seemingly what New
Jersey native is that? What's is that? The accent. I'm
I'm not great with my analysis of New York Area accents,
but it's strong in character defining. She kind of feels
like she could be a Sarah Squirm character on SNL
or something.

Speaker 3 (25:57):
She's just I love her. I love Domina so much.
Her accent is great. Here's my take on her accent.
It sounds like a bad, fake New York Area accent,
but I think it's just a real, non movie actor
thick New York Area accent or New Jersey accent, That's

(26:20):
what I think. Like, I think this is her real voice.
And almost all of her lines in the movie begin
with the word Z. He's just always saying Z's name
because she's either talking to him or talking about him,
So almost every line starts off with her saying Z.

Speaker 2 (26:36):
Yeah. Yeah, I feel you know, you feel bad for
the other individual in her life, Hydro, her loyal cyborg
because why not more talk about Hydro. Hydro's been for
you the whole time. He's been here for you the
whole time, But you're always talking about Z, who's your enemy,
that's elsewhere.

Speaker 3 (26:53):
Well, she does tell Hydro that he is very loyal
and well programmed often and he said thank you, Domina.
But the next thing she says is She's like, but
that's Z.

Speaker 2 (27:04):
Domina is played by Stormy Spill. This is Stormy Spill's
only credit. I could find no other evidence of Stormy
Spill popping up anywhere in any kind of media. I
can only imagine what sort of adventure Stormy Spill got
up to in mid eighties New York City. But she's

(27:25):
great here. I'm an instant Stormy Spill fan. And she
is also dressed like a Rick Owens model. For most
of the film.

Speaker 3 (27:31):
She feels like a local celebrity. Yeah, it was cut,
you know, like when they put What's r C Baits
as Sam the Keeper and Werewolf or in the black
Hole Sun music video Rcy Bates. It was known as
a you know, around town LA local celebrity more than
as an actual movie star. But people knew of him

(27:53):
and liked him and so put him in things she
feels like that. She feels like somebody around town in
New yor or that everybody knows about and likes. And
somebody was like, we got to put Stormy in a movie.

Speaker 2 (28:05):
Yeah, yeah, you can easily imagine like Stormy spilled like
being a notable owner of some local bar or an
MC I don't know, you know, a club or a
or less show or something. Yea, but you know, for
the rest of us years later, just a mystery.

Speaker 3 (28:19):
But her on screen energy is a little bit like
share kind of.

Speaker 2 (28:23):
Yeah share compared to Share in some user comments before.

Speaker 3 (28:27):
But by way again of a stag beetle with the costuming.

Speaker 2 (28:31):
Now we mentioned Hydro, her loyal cyborg, a slightly dopey
earlier Delta model, also the last of its kind. Hydro
is played by Doug Devas, but sometimes spelled like DeVos,
and I think DeVos feels more appropriate because of the
Cyborgs often look like they belong in a Devo video

(28:52):
or or or perhaps some other like you know, you know,
eighties Sunglasses at Nights sort of a music video or
like craft craft work.

Speaker 3 (29:01):
For sure, it looked like craftwork.

Speaker 2 (29:02):
The robots, yes, and they move like that. Yeah, yeah, yes,
so yeah, Doug Devas here, not to be confused with
the businessman of the same name. All right, getting a
little bit into the world of cyborgs and droids. There
are some great beefy cyborgs in this but I'm not
going to list all of them, but I am going

(29:23):
to mention we have a pleasure droid that shows up
last year's model and she is played by Leanne Baker.
Baker was also in Bad Girls, Breeders, and Riot, but
a lot of viewers will recognize her as the lead
Eva from the nineteen eighty six New York indie film Necropolis,
in which she plays a New York City punk witch.

(29:45):
This one has some notable VHS covers, included one here
for you, Joe.

Speaker 3 (29:50):
It's made on graft paper.

Speaker 2 (29:52):
Yeah yeah, yeah, like a motorcycle, short, spiky blonde hair,
you know, almost you know, a little bit of a
gozer vibe. But yeah, she instantly stands out. Her other
films include eighty seven, Psychos in Love and Galactic Jiggalow.
She retired from acting but has written at least one
young adult book, so she went on to become an author.

(30:14):
So yeah, look her up. She's fun.

Speaker 3 (30:17):
She really punches her lines in this movie. She only
has a few lines, but every one of them is
just fully enunciated straight into the camera.

Speaker 2 (30:27):
But she can't criticize because we find out she is
a cyborg.

Speaker 3 (30:31):
So that's right.

Speaker 2 (30:32):
Yeah, robotic acting, you know, excuses a lot, all right,
And then briefly getting into some of the folks behind
the special effects in this film. Again, the special effects
in this film are scrappy, low budget, but also awe
inspiring in their own way.

Speaker 3 (30:46):
Yeah, the stretching arm effect is everything. When I was
watching this on my phone at first on an airplane,
and when that started happening, I just I was at
a loss because I needed to turn and talk to somebody.
It's just this random guy next to me, and I
can't like show it to him what I want to be.
Do you see the arm? Oh my god?

Speaker 2 (31:08):
Well, I'm sure everyone around you was thinking about this
movie while you were watching. They're probably like, what is this?
What is he doing? Why is any watching the films
on the back of his seat?

Speaker 3 (31:17):
Yeah, a good question. Well I had something much better
than any of that there, and it is this, and
to a large extent better because of the special effects.
That crazy arm stretching. Also, the later puppet of the
guy that I'm going to end up calling Bud, the
cyborg friendly cyborg that man that puppet is is incredible. Yeah,

(31:38):
way more elaborate than I would have expected for a
movie otherwise of this budget. If this makes any sense,
The special effects are definitely a production value rung above
say the sets and the costumes.

Speaker 2 (31:52):
Absolutely, yes, Yeah, and again it's just a place where
you see the passion here, you see the passion in
these guys. Guys work, So are these guys well. We
have Ed French. He's credited with special makeup effects and
he was born in nineteen fifty one. French worked on
several Kincaid films and Acts and Breeders, and this is
around the same time he did eighty six is Dead

(32:13):
Time Stories and four episodes of Tales from the Dark Side.
He also had already worked in special effects makeup on
such films as eighty three sleep Away Camp, eighty Four's
Chud and eighty five's The Stuff. Since then, he's had
a hand in a ton of special effects of laden films,
including Terminator two, Hell Raiser, Bloodline, The Midnight Meat Train,

(32:34):
Sinister two, and The twenty twenty three Dungeons and Dragons
movie Wow, also credited with Cyborg Mechanical Designs. We have
Tom Lawton. Lawton had previously worked on eighty six's Class
of Newcombe High and Robot Holocaust, and went on to
work on A Nightmare on elm Street, four, The dream Master,
two thousand and five's King Kong, and two thousand and

(32:57):
five is The Lion, the Witch in a Wardrobe. These
last two as part of WETA.

Speaker 3 (33:01):
I remember Nightmare four, I think has some very notable
special effects.

Speaker 2 (33:05):
Yeah, this was like a yeah, this was a period
in the Nightmare. I guess, you know, after a point.
I mean, they all have some great special effects in them,
but this is a point where they're really going for
crazy stuff, right, Yeah, all right. Also Matt Vogel has
special effects credit. Vogel's previous films included included eighty one's
Miss forty five, The Nesting and Madman, as well as

(33:25):
eighty four's Chud, Robot Holocaust, Breeders, Necropolis, and eighty seven
Streak Trash. He went on to work on such films
as Frank and Hooker another film that I've watched on
an airplane and I keep almost coming back to Franken Hooker.
It's pretty great in its own way, but we also
did Kings of New York, Cloverfield and much more.

Speaker 3 (33:45):
Bravo nice work.

Speaker 2 (33:47):
Yeah, once again, as with Star Crash, I love the
violent laser blasts in this film. They just send the
sparks flying. And I also love how the cyborgs all
seem to have like green slime vomit for blood again,
or at least the mutated ones. Once they get really mutated,
there's all sorts of weird goo coming out of them.

Speaker 3 (34:07):
I am used to seeing movies where the laser guns
are almost useless against the villain. You know this is
a comment you've got, like, Oh, I'm an invulnerable cyborg.
I can't be stopped. And so you see characters shooting
it with laser guns and the lasers just bounce off.

Speaker 2 (34:22):
Or even when they kill somebody, they don't leave a mark.
It's just coming. You got me.

Speaker 3 (34:27):
In this movie, the lasers are absolutely deadly. So there
will be characters locked in a life or death struggle
with the cyborg. But if they can pop one laser
blast off on the cyborg, Cyborg's done. Yeah that's it.

Speaker 2 (34:41):
I'll take deadly rays for sure.

Speaker 3 (34:43):
Exactly these deadly rays will be their death.

Speaker 2 (34:45):
Yeah, all right, And finally, the score is by Don
Great born nineteen fifty one. Synth guitars, lots of cheesy
riffs that only sometimes match the on screen action. I
also get a great retro video game vibe from all
of this. You know, just the music that's playing as
you side scroll your way through a level.

Speaker 3 (35:03):
Absolutely sounds like the music that loops in the background
in the old nes Batman game.

Speaker 2 (35:09):
Yes, yes, absolutely. Great also composed scores for Breeders and Necropolis,
but he also had a lot. He also has a
lot of additional music and stock music slash production music
credits on all sorts of films.

Speaker 3 (35:31):
Okay, we're doing the plot now, let's do it.

Speaker 2 (35:33):
Let the hunt begin.

Speaker 3 (35:34):
So the title and credits are a very nice glowing
green on black, like the computer screens in the Matrix,
you know, the digital rain look, not that design, just
the green on the black. It does, I don't know,
just makes you feel nostalgic for another era of computers. Also,
the opening music makes me feel nostalgic. We were just
talking about it being kind of like video game music,

(35:56):
but the song that plays at the beginning isn't quite
video game music. Yeah, that comes a little bit later
in like the fight scenes. The opening theme is that
nineteen eighties synth pulse that just makes me think about
a cop in a cream blazer with the sleeves pushed up,
you know what I'm saying. So it's a little bit
Miami Vice. It's also Grand Theft Auto Vice City. So

(36:18):
that whole thing also kind of a thin, plinky, little
snare beat. I don't know, it's a good sound. And
then the opening shot is New York City. We see
the skyline of Lower Manhattan at dusk with a dark
blue sky, orange sunset in the background, and all of
the buildings glowing.

Speaker 2 (36:36):
Yeah, this reminded me just a little bit of the
A Trauma Team release Skyline. Trauma fans will know what
I'm talking about.

Speaker 3 (36:43):
Also, in a way reminded me of the opening of
the John Travolta movie about John Gotti, which I don't recommend,
but it starts with Dravolta just looking at basically this
skyline of New York City and then he's like, New
York's the greatest city in the ef and world. So
after this we cut to an establishing shot outside of

(37:06):
a grungy looking building and a sign tells us this
is the headquarters of the company called in tel Tracks
Intel Tracks. We cut inside and there are random, dull
body parts hanging from the ceiling. That's promising. The first
thing we see is a severed mannequin arm on a wire,
just hanging in this dark room that looks like it's

(37:28):
a parking garage. There's a table that very much wants
you to believe it is a lab. So we have
test tubes lined up on racks, a white sculpture of
a hand mounted on a brick, and then a few
loops of IV tube dangling in the frame.

Speaker 2 (37:44):
Yeah, a lot of these sets slash locations and they're
gonna They're gonna get you halfway there. You need you
bring a little imagination into your viewing. There's just enough
for you to figure out what this is supposed to be.
So we pan over to some cyborgs standing in a row,
and you can tell their cyborgs because they are wearing
the Mutant Hunt cyborg uniform, which is long dark pants,

(38:07):
a dark fitted button up shirt buttoned all the way
up including the collar high and tight haircut sunglasses even
at night and indoors, and we will get an explanation
for those sunglasses later, which is pretty ambitious. Most films
of this sort, they're just like, of course, everyone's wearing
sunglasses at night. It looks really cool. This film actually

(38:30):
bothers to give us some lore to explain it all.

Speaker 3 (38:33):
I think the explanation, though, has to be a post
talk rationalization, because in the scene where it's happened, I
don't think that scene was originally in the story. I
think that's a later insert.

Speaker 2 (38:44):
Do you think that? Do you think the actors requested
They're like, Tim, why are these cyborgs wearing sunglasses? I
don't know that my character would hunt them if they
were wearing sunglasses at night for no reason. We've got
to establish it.

Speaker 3 (38:56):
No, I don't think that's the reason. I think the
reason is otherwise it wouldn't make any He sends it
all for there to be a sex scene in the
scene right after the scene where the heroes are like,
we've got to stop these cyborgs right now. They need
to explain why they have twelve hours until the cyborgs
can be hunted again.

Speaker 2 (39:11):
There you go, there you go.

Speaker 3 (39:13):
So we first see these guys, like the cyborgs are
moving around and it's very old school robot mime work. Again, craftworks.
We are the robots, you know, slow pivoting, ah, that
kind of thing. So after this we cut to some
different guys, three guys standing in a row. One of
them is Z, the character we already talked about, the villain, Z,

(39:36):
who is dressed like a stag beetle. He's wearing some
kind of vest or upper body armor that is shiny
and black ribbed in the front, with these flared out
shoulders so that he's kind of V shaped. He checks
his watch and he says, Zerum activation should begin now.
Right after this, a couple of cyborgs in this line

(39:57):
over here, they turn and they start attack the other cyborgs,
and we see them really damaging each other. Arms get
yanked out of sockets, their wires popping and shooting sparks.
One of them rips a head off, and Z says,
that's it. They're even more violent than I imagined. He says,
our customers will be pleased, don't you think, And then

(40:21):
it cuts to reaction shots of the two cyborgs beside him,
in which they do not react. Or that that's the joke. Meanwhile,
somewhere else in a tall building, there's an alarm going
off inside an empty white room that looks kind of
like an art studio with nothing on display. Have that feeling, yeah,
I sure to. In walks a woman wearing that same

(40:42):
kind of stag beetle outfit as z So big shiny
black leather shoulders and a ribbed front. And this is Demeana.
As we were saying earlier, Demeana is a phenomenon. She
just owns the screen. The alarm is sounding and Demina says,
sort of talking to the ceiling. She says, Hydro, what

(41:02):
was that? And then we cut to somewhere else and
there's a cyborg who looks even dorkier than the other cyborgs.
He's talking into a microphone. This is Hydro. He tells
Demina that the intel tracks cyborgs have been activated. She
asks the altered units. Hydro says this is correct, and
then Demeana begins to pace. So in this scene there's

(41:23):
some cinematography. She's wandering behind a bell jar that gives
her a slight funhouse mirror appearance when she crosses parts
of it, and she's thinking about the activation of these
altered units. She says that Z must be out of
his mind quote the way he has them programmed, they'll
turn against him. He'll be lucky if he isn't ripped apart.

(41:45):
But Demana is plotting. She tells Hydro that they're going
to keep an eye on what Z is up to
quote until I'm ready to unveil my creation to the world.
Z can play with his pathetic toys, and then she's
starts it's monologuing. So we learned that everything Z and
his people have ever produced, including Hydro, started in her laboratory.

(42:08):
She says, Z that thieving swine. Then she wanders over
to a figure that we can't quite see. It's held
off screen. We just sort of see an arm wrapped
in something white, and then she just starts rubbing the
arm and we hear it growling.

Speaker 2 (42:23):
Yeah, there's gonna be a lot of build up concerning
this figure. Yeah, I wonder if it's going to be
a cyborg. So we cut back to Z and his
two dudes, and he says that he is creating five
different models of these things, with a thousand copies of
each quote total carnage, uncontrolled fury.

Speaker 3 (42:42):
What more could anyone ask? Why is he doing this?

Speaker 2 (42:47):
Well, yeah, I think he does generally enjoy chaos, but
we also will learn later for profit. He has a
client list that includes with tyrants and dictators and criminals
around the world, and they want a way to biologically
hack their worker cyborgs and turn them into mindless killing machines, for.

Speaker 3 (43:09):
They cannot be controlled. Cannot because they specify many times
what these things are is that they cannot be controlled.

Speaker 2 (43:17):
I mean, can you imagine a text CEO wanting to
make money off of a technological innovation that cannot be
fully controlled and may become a problem later on. I
don't know.

Speaker 3 (43:28):
Well, at least there there's the illusion that it can
be controlled. You know, he's just saying He literally says,
these are uncontrollable. And so he calls in the maintenance
droids to clean up the borg massacre and incinerate the evidence,
and we get a hilariously dramatic scene of cyborgs killing

(43:48):
other cyborgs and smashing laboratory equipment. Body parts are smashed
up all over the floor. There's a funny shot of
the dead cyborgs lying on the ground smoking, and they
all have their mouths wide open in dentist mode.

Speaker 2 (44:01):
Yeah, and also their limbs up like dead bugs.

Speaker 3 (44:04):
I love it. Yeah. So next we meet a handsome
guy in a white lab coat and he walks into
the room with all of the fuming cyborg meat on
the ground, and Z is just standing there over the bodies.
This is one of the times when the scene starts
and Z is just standing there with his arms clasped,
hands clasped behind his back, not doing anything, and this

(44:26):
guy walks up. The guy in the lab coat is
Paul Haynes. Doctor Paul Haynes. He and his sister Darla
Haynes are Intel Tracks employees who worked on the design
of the Delta seven cyborgs, which is I think what
these are. So Haines goes up and sees all the
smoking meat and he's like, what is this? Zee says
he thought the lab was empty. Haines says that the

(44:47):
Delta sevens were not ready for activation. These have not
been safety tested yet. It's not time. Haynes says, I've
spent the last year on these cyborgs. You reduce them
to a pile of scrap. Z says my scrap doctor.
Your work is for the benefit of my corporation. If
you wish to keep your position, you'll forget everything you've

(45:08):
seen here. And Ze looks so annoyed. But the fact
that he seems so annoyed is especially funny because he's
not doing anything. He's just standing there like some kind
of palace guard when Haines comes in. And then after
this conversation, he wanders off, pretending obviously pretending to be

(45:28):
looking at something that's not there on the other side
of the room. So Haines kneels down and then he
I loved this. He dips a finger in the cyborg
juice and then is he gonna taste it? Yeah, he
just tastes it, like what's he assessing freshness? Yeah?

Speaker 2 (45:45):
Yeah, I mean he's a he's not an angel from
the prophecy, so he presumably just has human Hell. You know,
we talked, we talked about this. You know, we have
a geologist out there in the world who can actually
taste a rock and tell you something about it. So
maybe Haines is just such an expert in the cyborg
world that he can taste just random cyborg juice and

(46:06):
tell you a little something about what's going on there.

Speaker 3 (46:08):
He can debug cyborgs programming by tasting their juices.

Speaker 2 (46:12):
Yeah, but you know the weird thing is we find
out later that anytime these altered cyborgs go anywhere, the
place just reeks of eupour on. Yet he's like sampling
the gou here and he's not getting high. Presumably right,
maybe this was this is cyborg goo from a non
Euphoron oh altered cyborg. So I guess it works.

Speaker 3 (46:32):
I think you're right. Yeah, because these are the cyborgs
that Z had the other cyborgs kill these cyborgs. I
think Z was having the Euphoron cyborgs killed the non
Euphoron side.

Speaker 2 (46:42):
There you go, that explains it.

Speaker 3 (46:44):
Uh So he no, wait a minute, no, no, no, no, no,
that I'm thinking about that can't be right because he's
about to Paul is about to yank the core out
of the back of this cyborg and go figure out
what happened. So this has to be one of the
altered ones.

Speaker 2 (46:57):
Oh Man missed opportunity to explore here with him getting
hooked on U FOURU on by sampling cyboord game.

Speaker 3 (47:04):
So he takes it back to his lab, this little
core that he gets out of the back of the neck.
And I just want to flag here that, like everybody
in this movie has a funny costuming issue. Both Paul
and Darla are dressed really funny for lab work. Paul
is he is wearing a lab coat, but underneath it,
he's wearing this blue shirt that is open, like four

(47:24):
buttons down.

Speaker 2 (47:26):
Yeah, like in his lab.

Speaker 3 (47:28):
And Darla is wearing like a black party dress.

Speaker 2 (47:31):
Ye, Like, I'm going out after the shoot today, so
can I just wear this?

Speaker 3 (47:35):
Yeah, it looks like you're dressed for going out for cocktails.
That's what that's lab now. But again, basically, all of
the costumes in this movie are funny. We'll note them
as we go along. So they run some tests and
established that there is an alien molecule in the fluid
system of the affected cyborgs. Guess what it is. It's

(47:56):
U four on again. This is the fictional d rug
in the movie. Characters spend a lot of time talking
about it. They spend a lot of time doing it.
This is you put it in your ear And Paul
explains the computer readout on this stuff. He says, anti
organic reactions triggered by pre programmed sexual response, like what

(48:17):
are these going to be sexual cyborgs? Now? No, that
does not happen. There's nothing sexual about them. But they
keep characters keep describing what's going on with these killer
cyborgs in sexual terms, but the cyborgs do nothing remotely sexual.

Speaker 2 (48:34):
Yeah. Yeah, this initial setup makes you wonder if you're
in for a much grimier film. But I think the
idea here is the drug messes up the cyborgs in
a way that makes them on some level experience hedonistic
pleasure via violence and death. But all they need to
do to feel that pleasure is just rip somebody's head off.

Speaker 3 (48:51):
That sort of thing. I think this is Actually it's
drawing on some kind of like serial serial killer associated
ideas that like, oh, serial killers are getting some kind
of sexual pleasure when they go out and randomly murder people,
and that's what's happening to these cyborgs, I think is
the idea. Yeah. Anyway, Paul determines that three of the

(49:13):
mutated cyborgs escaped, and at once he picks up the
phone to call somebody. He explains to Darla that he's
contacting the only man he can trust, Matt Riker. Darla
is skeptical. She knows that Riker is a mercenary, but
Paul says those cyborgs can't be stopped by ordinary means.
But while Paul is making the phone call, they're interrupted.

(49:36):
Some cyborgs come in. Cyborgs come in and explain that
the two of them are being that Paul and Darla
are being placed under arrest for making mutated cyborgs. I
think Z is trying to pin this on them.

Speaker 2 (49:49):
Yeah, whose cyborgs are these though? Or these are not
Z cyborgs but like law enforcement cyborgs.

Speaker 3 (49:55):
Maybe Darla gets away by just kind of shoving a
table at one of the cyborgs and then she jogs
off and.

Speaker 2 (50:02):
Yeah, they kind of like kind of lumbers at her
tour Johnson's style. Yeah, that she makes it.

Speaker 3 (50:06):
The cyborgs are like the zombies and Night of the
Living Dead. They're slow moving, they're all messed up.

Speaker 2 (50:13):
Yeah, it is explained that. I think most of them
are designed for like assembly line type work and dangerous
environmental work that sort of thing, so maybe they don't
have to move quickly.

Speaker 3 (50:26):
We see Darla running away through these desolate futuristic city
streets at one point, unless she goes through a tunnel
and we see cars parked everywhere. It's very future in
New York City from the eighties. There's lots of trash
and graffiti. At one point, she passes a bit of
graffiti that says death may be your Santa clause.

Speaker 2 (50:46):
Hmmm, interesting with claus felt like claws with a w.

Speaker 3 (50:53):
So the cyborgs are in pursuit the whole time. They're
blasting at her with lasers but always missing. Eventually, she
comes to an apartartment building and runs up the stairs
to the home of Matt Riker. When she starts banging
on the door, Riker is asleep in his bed with
a woman next to him, with all the lights on.
And Riker's apartment is hilariously empty. It is painted white

(51:17):
brick walls and instead of furniture, he just has hooks
on the walls with weapons mounted on them.

Speaker 2 (51:25):
Yeah, most of these shots there are no visible windows
in this place. And I've stayed in some New York
City basement apartments before, granted with more art and fewer
weapons on the walls. So this feels like a very
real location. But it also does just feel like an
absolute kill room of a New York City apartment.

Speaker 3 (51:42):
Yes, so Riker gets up, does not get dressed, so
I can imagine a very beefy man. He looks kind
of like a soap opera star in tidy white ees,
brand new ones. By the looks of it, they're blindingly white.
He goes to the door, but before he can open it,
Darla Haynes busts in somehow, and she says, Matt Riker,
I'm in trouble. And then the lady in bed, who

(52:04):
had been in bed with Riker, pops up and says,
you bet you are a sweetheart.

Speaker 2 (52:11):
The lady in bed is the short line here. This
is the one that we're going to find out later.
Is a pleasure bought. Yeah. Quick note on the tidy whities.
I haven't actually watched any of the Joe Gage films,
but I'm to understand that the standard white cotton briefs
are a hallmark of the blue collar working man aesthetic
in those films, So this might be one of the

(52:32):
things we can point to as a connection between the
Tim Kincaid films and the Joe Gage films.

Speaker 3 (52:37):
Interesting, Okay, Anyway, before Darla and the others can discuss things,
cyborgs arrive. They just start coming in the door, and
then here begins one of the funniest action scenes I

(52:58):
can recall from any Basically, what happens is that mercenary
Matt Riker fights this gauntlet of buttoned up cyborgs. He's
still in his white briefs, but the staging is just magnificent.
Throughout the fight, they keep cutting away to new walls
with different weapons on them for Riker to use. There's

(53:19):
the way that people have to step over the bed
to get over it, producing a cute little mattress squeak
every time.

Speaker 2 (53:26):
Yeah. Yeah, the cyborgs, big beef cyborgs having to step
over the bed.

Speaker 3 (53:30):
Yes, Ryker hiding behind the punching bag while he's maneuvering
the way. Only one character moves at a time, and
when one character is moving, everybody else just stands there
still and watches them.

Speaker 2 (53:43):
Yeah.

Speaker 3 (53:43):
And the music this is where some of that video
game style music comes in. It's also very wah wah
eighties guitar going.

Speaker 2 (53:51):
It's so good. Absolutely. Yeah.

Speaker 3 (53:53):
There's one amazing sequence where Riker hand he manages to
he's got handcuff for some reason. He manages to handcuff
one of the cyborgs to the radiator using these handcuffs
that were just sitting on a table. And then while
the cyborg is cuffed there, it turns. It sees a
machete on the wall, but oh no, the machete's like

(54:15):
fifteen feet away. No problem. It starts reaching with its
arm and then just keeps reaching and keeps reaching and
keeps reaching, and the arm stretches, so the cyborgs have
stretch armstrong powers. It engages extender arm, and we do
get a cutaway where you see the full length arm
all the way stretched out, and then it retrieves the

(54:36):
machete so that it can chop off its own hand.
It squirts orange juice concentrate wires are poking out everywhere,
and then I think when it gets up it jams
the hand back onto the wrist.

Speaker 2 (54:48):
Yes, it does, and then is ready to fight again.
This scene takes forever, but every moment of it is awesome.
I would love this sequence in any mid to high
budget production, but I also just love it in a
little bit low budget production like this.

Speaker 3 (55:01):
Yeah, it's so good and got all of the weapons.
So there's a crossbow on the wall. Ryker ends up
using that. There's a shotgun on the wall. I don't
think he ever uses the shotgun. He picks it up
and he tries to shoot it, but it jams and
then he can't use it, so he just does to
punch a cyborg.

Speaker 2 (55:16):
Or maybe he realizes his last minute. Oh yeah, I
don't keep a loaded shotgun hanging on the wall. But yeah,
that one, that one is no use.

Speaker 3 (55:24):
There's a harpoon that he never uses.

Speaker 2 (55:26):
Yeah, I would shot the harpoon. Gun doesn't get used.

Speaker 3 (55:29):
Yeah, what is the what are Raphael's weapons and the
ninja shurt?

Speaker 2 (55:33):
Oh the sigh?

Speaker 3 (55:35):
Yeah, okay, he uses some of those, or he tries
to use them and but the cyborg deflects him.

Speaker 2 (55:40):
Yeah, grabs them, whips him around, and then he goes
to use them and they're deflected. But then in the
next shot on the wall again.

Speaker 3 (55:46):
Oh very good, I didn't notice that. Eventually he gets
one of the cyborgs with a night stand lamp attack like,
he yanks the bull about and then zaps the cyborg
with it. He so he kills a couple of the
cyborgs and then the music stops and then Darla says
they aren't human, and the woman in the bed says
no kidding. Darla asks Riker for a cigarette, which I

(56:09):
thought was funny, and he finally puts some pants on,
and then Darla explains what happened. She asks Riker for help.
Turns out Riker and her brother Paul had worked together
in the past. Paul once saved Riker's life and he
owes him one, so he's in for whatever this is.
Then Darla gives the scoop. She says, Paul's head of

(56:31):
research at Intel tracks he designed a new line of cyborgs,
the Delta sevens, for hazardous occupations. A few hours ago,
three of the Delta's malfunctioned. Someone had introduced U four
on into their system. And then the lady in Riker's bed,
who's still here and very much part of the conversation,
says EU four on, who'd want to get robots high?

Speaker 2 (56:55):
In great delivery?

Speaker 3 (56:56):
And Darla says the drug decays and mutates psycho sexual
response programs, corrupting the reasoning cortex. The other lady says,
what's that in English? And then Reiker, comprehending perfectly, says
they kill for pleasure. Yeah, I don't know how you
get that from the other thing, but so Paul is

(57:18):
being imprisoned by Intel tracks, which we learn is legal. Actually,
the corporations in this movie can imprison anybody for up
to seventy two hours.

Speaker 2 (57:27):
Quote.

Speaker 3 (57:28):
Ever since the Space Shuttle sex murders.

Speaker 2 (57:32):
Yes, the Space Shuttle sex murders, which is just just
a nugget thrown out there for us to ponder. But
I love it, like the kind of like gentle world building.
It's like, what, like I imagine a world in which
there was something called the Space Shuttle sex murders, and
it's just sort of a common reference like yeah, yeah,
when that happened.

Speaker 3 (57:50):
It's just a common reference point and it can explain anything. Apparently,
why can corporations imprison people because of the Space Shuttle
sex murder?

Speaker 2 (57:57):
We can't allow it to happen again. So yeah, we
got to give corporations extra power over people.

Speaker 3 (58:02):
So Darla says, if you can't stop the mutants, Riker,
who knows how many innocent people they'll murder. Riker says,
I'll give it a try, but it's not going to
be easy. Darla explains that the Delta sevens have five
times as much strength as the cyborgs that Riker just killed,
and he says, She says they have. This is where

(58:24):
we get that they have a limited telepathic power, allowing
them to sense potential harm, meaning that as long as
you're hunting them, they'll be hunting you. That's good, that's
pretty fascinating.

Speaker 2 (58:37):
And and again it makes you if we exist in
a world where that exists. That's part of the cyborg build.
Like what other details are out there? So I did?
I do kind of love this.

Speaker 3 (58:48):
So Riker first jokes that he's going to not take
the job. He's like, I don't know, this is too
much for me. And then he's just like, no, I'm
just kidding. I'll do it. And then more cyborgs just
start pouring into the apartment. Whoops, they were talking too long,
I guess, and another fight begins. I don't know why,
but this time they go straight for the lady in
the bed. The cyborg just scoops her up and throws

(59:09):
her out the window. Oh no, but when she hits
the ground, our fears are somewhat put to rest because
we see there is no blood. Instead, she splats in
a puddle of yellow green goop.

Speaker 2 (59:19):
Yeah, yeah, she's a cyborg. Fantastic sequence here and a
good moment to just bring up the general cyborg fighting
techniques that we see from these guys. They have two
main grappling styles. They have the Monster Movie made in lift,
you know, like any poster you've seen of a monster
carrying an unconscious woman.

Speaker 3 (59:35):
Yeah, just lifting up. Yeah.

Speaker 2 (59:37):
And the other is a two handed frontal ballet lift.
I'm not sure exactly what this is called, but you know,
like lifting someone up in the air like a like
a parent might lift a toddler above their head. That
ballet move so not something you see like in wrestling
per se, but it's one of the things that the
cyborgs do here in addition to their chops, their punches

(59:59):
and her head rips.

Speaker 3 (01:00:00):
Yeah, they do some brutal karate chops and they rip
body parts off. But the fight continues. There's machete versus chair.
One of the cyborgs gets a machete, Matt Riker as
the chair and they're squaring off. Eventually, Ryker gets the
upper hand and blasts the cyborg with a laser gun
and that's it. And a laser gun does the trick
and then a Riyker and Darla go to the window

(01:00:23):
and Darla looks down at the body and she expresses shock,
and Ryker says, easy, come, easy go, and she goes,
how can you say that? And Ryker is like, ah,
she wasn't a human, just a pleasure robot. Oh, okay,
no big deal.

Speaker 2 (01:00:36):
She seemed to have a personality.

Speaker 3 (01:00:38):
Yeah, Well, question like, do the cyborgs in this movie
want to live? Do they feel pain? In which case
I would feel kind of bad anyway that she got
thrown down there. I don't know. I don't know.

Speaker 2 (01:00:50):
Yeah, we're left to just try and figure it out.

Speaker 3 (01:00:52):
We at least learned that some of them later do
feel pain. Yeah, it's trying, but so apparently no big
deal from the movie's point of view, just a robot. Oh.
And then also Ryker says, I smell euphour On, must
have been pumped full of it. Which one is he
talking about her or.

Speaker 2 (01:01:09):
The Yeah, yeah, it was confusing the first time I
watched it as well.

Speaker 3 (01:01:15):
And then he says, seems an old friend of mine
has been on the Euphoron trail for the FEDS. So
we cut to a nightclub called Club Inferno, and there
is a dance act going on. We see a lady
with red hair with a mask on. It was kind
of a bandit mask of some sort. And she's dancing
on the stage. She's wearing like a black body suit

(01:01:36):
with a bunch of holes in it. She almost looks
like she could be in the cast of Cats. Did
you get that? Yeah? Yeah, And this is going to
be the character Elaine Elliott. So in the middle of
her dance, there are a couple of creeps in the
club that come up on stage and start messing with her,
and then she beats them up and tosses them out
on their butts. But I thought it was weird. While

(01:01:56):
they're fighting, some people in the club are audibly like
out and rooting for the attackers and the fight. Get her, Yeah,
get her. This is not a very good club, it
seems like. And so in this club we see people
also doing you for on They're dabbing it into their ears.
There's one guy just drinking from a bottle of Jack Daniels.

(01:02:19):
Do they let you drink straight out of the bottle
at a bar?

Speaker 2 (01:02:22):
They do that in movies if you're the protagonist and
you've had a rough day, It's like, just leave me
the bottle, Sam that sort of thing.

Speaker 3 (01:02:28):
But wouldn't they at least make you put it in
the glass.

Speaker 2 (01:02:31):
I don't know I went to a bar in Thailand,
I believe. Oh no, you know. I can't remember if
I went to a bar. I just read about this
while I was visiting Thailand. But like, there are bars
in Thailand where you can bring in your own bottle
that they will keep for you. And then I don't
know if you're allowed to drink out of the bottle though,
that's the thing.

Speaker 3 (01:02:53):
Anyway. Elaine comes down after her act and she talks
to Riker and Darla. Riker introduces her at inter uses
Elaine as private Op bounty hunter. Oh you were right,
private op, he says, Private, okay, Private Op bounty hunter,
Dancer of the Seven Veils. I just thought she's a
public op because she says she does it for the government.
So I don't know what's what's going on there. Maybe

(01:03:14):
she's private and public and public.

Speaker 2 (01:03:18):
She's a busy woman. She has a number of.

Speaker 3 (01:03:21):
Hats totally, she's multitasking. Riker tells Elaine that he has
a blotder job for her. A blotterer in this movie
means murder. I think it means like assassinate. So he's
got a blotder job for her. Does she want in?
There's some haggling. She finds out that Riker is doing

(01:03:41):
the job as a personal favor. But she's only interested
if she can claim her usual fee. As we can
see from the number of jobs she has, she must
be she's interested in making bank and Riker says, don't
worry about it, I'll cover your fee. He says. The
targets are not human, they're cyborgs, quote mutants, psycho sexual killers.

(01:04:01):
And we learned that lately Elaine has been working on
a government case. Here's her public op stuff. She's tracking
a large cash of euphoron smuggled in from the lunar colony.

Speaker 2 (01:04:13):
Yeah, this is another detail that it's like, what what
is it? Euphoron comes from the moon? Are they like
they're making it in like euphoron labs on the moon
or they growing something there gets turned into euphoron, Or
is something naturally occurring in the depths of the moon
that it becomes uphoron. I don't know.

Speaker 3 (01:04:32):
That was my thought. Euphoron is made of the moon.
It is a drug manufactured from the lunar regolith. That's good.
I love it.

Speaker 2 (01:04:39):
I love it.

Speaker 3 (01:04:40):
But anyway, somebody on earth here, or at least in
New York, has been buying up all of the euphorons,
so the market has dried up. Somebody's buying it and
hoarding it, and nobody knows where it is. H And
then while she's talking, it took me until the second
time I was watching this scene to notice, like, wait
a second, isn't that Domeina sitting right next to her?

(01:05:00):
That is that's.

Speaker 2 (01:05:01):
Her drinking something out of a coop glass there. Yeah, yeah,
so they Oh, I'm sorry a Nick and Nora glass.

Speaker 3 (01:05:08):
I think I think that is right. Yeah, that is
what it is. So Demina's just sitting there listening. I
guess she's snooping on this conversation. Our heroes decide that
they've got to get another one of their associates on board,
a guy named Johnny Felix will meet him soon, and
Elaine says, Riker, how do I find these mutants? Riker says,
you don't they find you. So it turns out, yes,

(01:05:30):
this was Domina sitting next to Elaine. Demina goes in
back and places a phone call to Z remembers Z,
I love this call. These personalities bouncing off of each
other are so good. Demina says, Z, how good to
hear your voice. It's been such a long time, so
much blood under the bridge, Z says, what is it, Demeana?

(01:05:53):
Demina says, Z all of the lines to start with.

Speaker 1 (01:05:56):
Ze.

Speaker 3 (01:05:57):
She says, as your old colleague as well as your
ex partner, I thought I might have some information that
would be of interest to you. But if I'm mistaken,
don't let me disturb you. Ze says, We've been playing
these games for too many years. Demeana sounds like some
games without frontiers.

Speaker 2 (01:06:13):
Would say, I would say so.

Speaker 3 (01:06:14):
Yeah, So he says, now what is it? Do you
want something from me? Or are you planning something that's
going to hurt me? Demina says that genetic strain you
introduced into your Delta sevens, it's about to cause you
a few more problems than you've anticipated. You've got Matt
Riker and his merry band on your case, baby, so

(01:06:35):
they haggle about some stuff. I also love the way
the scene looks because they both have these like orange
red backgrounds behind them. Though they're in different places, but
their backgrounds look the same.

Speaker 2 (01:06:47):
Yeah, and this is a scene in which the stills
from the restored version that you'll find on the Vinegar
Syndrome disc. They really pop and made these scenes. These
stills especially made me realize I need to this up.

Speaker 3 (01:07:00):
So they're going to make a deal. Demina offers to
share the location of Matt Riker's recently recruited associate. I
think this means Elaine in exchange for fifty kilos of
upour on. Domina says, you've made it very difficult for
those of us who like to use uphoron as our
favorite entertainment. And I for one field that I must

(01:07:21):
go on record as telling you that I resent it.
I really do. Is that Lion has too many words.
You can cut that in half and say the same thing.

Speaker 2 (01:07:30):
She feels strongly about this, though I really think she
does at Z.

Speaker 3 (01:07:34):
I love this line where Z replies by saying, you're
so euphoroned out right now, you don't know what you're
talking about. But Demina wants the fifty kilos of U
four ons a. Z's going to give it to her
and she and she's going to provide the location of
the op. So it's a deal. And next thing we
see Elaine is walking home from the club alone and

(01:07:56):
she hears footsteps behind her on the sidewalk. She stops
and looks back and it's a big old cyborg come
in her way. So she runs to a yellow payphone
and places a call to a new character, Johnny Felix. Ye,
Johnny Felix is a cool guy in a short sleeve
green mechanics jumpsuit who kind of looks like he's going

(01:08:16):
for like a hairstyling of oats from Hollan Oats, you
get that. Yeah, Like he's kind of small but muscly
good looking guy with a strong dark mustache and a
tight curly black mullet. Very cool look. And Johnny Felix,
as I said before, he's just a very positive, sunshiny presence.

(01:08:37):
Makes me feel like everything's gonna be okay.

Speaker 2 (01:08:39):
Yeah, he's got the kicks, he's got the tech. He's
going to help you work it out.

Speaker 3 (01:08:43):
So Elaine calls Johnny Felix and he's walking on the
sidewalk somewhere, eating with chopsticks out of a Chinese takeout box,
and he answers the call by pressing a little button
on his ear. So I think he's he's got a
cell phone implanted in his ear. Johnny Felix is not
a robot, He's not a cyborg. This is just a
strictly business implant.

Speaker 2 (01:09:03):
And of course it made me think of earbuds. You know,
there's so much in the visual language of a film
like this depicting the technology the future that it easily
just passes you by as a modern viewer of it,
because this is already how we live.

Speaker 3 (01:09:17):
Yeah, it's true. So Elaine asks for help, says, a
guy is after her, Johnny Felix. He's always making jokes.
He's just like geez, you and your man problems, Elaine.
But then she shares her location with him. Again. I
said this earlier. I love anytime this movie shows a
map with location data. It happens a lot in the

(01:09:38):
second half of the movie. So in this case, there's
a pixelated screen, vaguely shaped like the outline of Lower
Manhattan as seen from space, with no features, no labeling,
no streets or landmarks, just a solid island. And then
a big X appears on part of the land mass.
Johnny Felix looks at that, he says, I got you, babe,
I'll be there in exactly eighty five second.

Speaker 2 (01:10:02):
Yeah, and this is where he breaks into a dead run, right.

Speaker 3 (01:10:05):
Yeah, well no, he shovels a few more bites of
these noodles.

Speaker 2 (01:10:08):
You need that noodle fuel for the fight to come.

Speaker 3 (01:10:11):
Yeah, that's right. These sausages will give me the quick
energy I need to escape. So he eats some more
noodles and then he throws his takeout box on the sidewalk.
Johnny Felix, that you litter bug. He's contributing to the
miserable state of this dystopian cybercity. But then he takes
off at a run. Meanwhile, the cyborg corners a lane

(01:10:31):
on a kind of boardwalk or promenade overlooking the East
River at night, and we see bridges lit up in
the background. She taunts the cyborg. She says, come on,
you putrid slime bag, take your best shot, and they
tangle a bit. Elaine gets some good kicks in. Johnny
Felix arrives on scene and then stands there watching while
the cyborg and Elaine are wrestling. And then the cyborg

(01:10:53):
holds her up in the air like he you know,
like the cyborgs do, like he's going to do a
body slam, but Johnny Felix else cut her some slack. Yeah,
and the cyborg, hearing this, puts her down. I guess
he cuts her some slack and then allows Johnny Felix
to kick him in the face. And then our two

(01:11:13):
humans run off and get some distance, and Elaine says,
unless you've got some big artillery on you, this thing's
too heavy, hitter. Some something got lost there, yeah, and
then it and then the cyborg sort of menaces them.
It walks up punching some holes in a big concrete block,
and then Johnny Felix yells, WHOA So perhaps another time.

(01:11:35):
They run away, and then after this they have a
stroll and a little chat. They're again walking on this
you know, sort of railing area overlooking the river by
the city, and Elaine explains, I hate it when men
save me. Johnny Felix says, well, excuse me for living.
And then Elaine says, come on, Johnny, you know what
I mean. It's humiliating. I am a fully accredited Federation's operative.

(01:11:59):
I passed tests. Johnny Felix is he has a reasonable answer.
He's like, look, Elaine, you know we all need help
once in a while.

Speaker 2 (01:12:06):
It's true.

Speaker 3 (01:12:07):
Johnny Felix needs help sometimes too. But then Elaine says,
even Riker, and there they gotta, they gotta admit Riker
never needs help. Riker's different. But wait, why did Riker
recruit them if he never needs help? Because Riker needs help,
needs help? Yeah, yeah, uh yeah, so Elaine says, well,

(01:12:28):
as of tonight, I'm just real glad I know an
off with a phone implanted in his ear.

Speaker 2 (01:12:32):
There you go.

Speaker 3 (01:12:33):
Then Johnny Felix says, yeah, it's real convenient. And if
I don't pay my bill, what can they do? Cut
off my ear? Seems like they probably would.

Speaker 2 (01:12:41):
Yeah, that seems like the black mirror direction this would take.

Speaker 3 (01:12:44):
Yeah, yeah, speaking of ears. Next, there's a scene of
Demeanor at her apartment or is this her lab anyway,
slamming some U four on into her ear while she
looks in a mirror. Hydro appears and gives her an update.

(01:13:08):
Riker's off has escaped, the cyborg is still at large.
Demina is very happy with all of this. She says
that not all cyborgs are as well programmed as Hydro.
Hydro says, thank you, Domina. Domina says, I often thought
I should have stayed with the Delta sixes. Hydro, you
were all so dependable, so trustworthy, so impervious to rust.

(01:13:31):
Hydro says, thank you, Domina. Domina says, now you're the
only one left all the I wonder how often she
talks to him like this, you know, it just seems
like it's the running theme in their house. But she says,
all the others turned to scrap Z. Z had to
be greedy. He always wanted more. Well, he's about to
find out that it was more than he could ever handle.

(01:13:53):
So many scenes where she's just predicting that Z will
soon get his come up, and so it's gonna it's
got to be really good when it finally comes. Yeah.
So next we go back to Matt Riker's apartment, you know,
the one with the weapon hooks instead of furniture. Johnny
Felix is getting some reps in at the punching bag,
and this scene is funny in how it's shot because

(01:14:13):
at first, Johnny Felix is the only character we can see.
We're just watching him work in the punching bag. Suddenly
he stops fighting the bag and starts talking to the room.
He says, I've tracked and logged four murders in the
last eighty five minutes, but we don't see who he's
talking to. Gradually we cut away and reveal basically all
of the other characters are in the room with him,

(01:14:34):
So we got Matt Riker here, Elaine, and Darla. Johnny
Felix explains the murders he is tracking. He says, all
in the same quadrant kill meth is identical and traces
of euphour on looks like one of these creep boys
is out on the job. And Darla says cyborgs. Paul
would die if he knew. He never intended the Delta

(01:14:56):
sevens to kill, but Matt Riker says someone did so.
In the scene, Johnny Felix can never remember that they're
called cyborgs, but again, he seems totally familiar with hunting cyborgs.
This is like his standard work. It almost seems so yeah,
very confusing.

Speaker 2 (01:15:15):
Yeah, it's like if you didn't know it was called
an iPhone, Like everybody knows what this is.

Speaker 3 (01:15:21):
But your job is buying iPhone, yeah or something. Yeah,
and he starts calling them jelly heads. But also in
the scene, we learned that Johnny Felix is Riker's Q branch,
so he busts out some toys for everybody. This includes
tracking devices. Uh there's one that Darla can tune to
pick up the mutants so that they can find them anywhere.
Another device is one that can zero in on the

(01:15:44):
molecular structure of Euphouron and will lead you to any
quantity over ten kilos. They also have these little wind
up cars with spikes on them that crawl around and
then jump and then explode.

Speaker 2 (01:15:55):
Yeah yeah, and when they jump they make a cartoon
sound like Yosemite. Sam just shot a tin can off
of the fence post, which cham Yeah.

Speaker 3 (01:16:04):
So now I basically now we've got Finally the mutant
hunt begins, the titular mutant hunt. It is here. Elaine
is going to go hunting for the Upouron stash, Johnny
Felix is going to hunt for Cyborg Alpha and Blotterer
him and Matt Riker is going to hunt for Cyborg Beta.
These are the two main cyborgs left. And Darla is
going to stay at Matt Riker's apartment until the hunt

(01:16:27):
is concluded. And Darla says, look, I know you're professional.
I know you kill for money, But do you really
know what you're dealing with? These things? Aren't you four
on dealers or sex maniacs. They're superhuman machines, ten times
stronger than any man. Wait, wasn't it five times stronger
in the earlier scene that was an hour ago? They're
just stronger now they're getting stronger. Yeah, And Johnny Felix

(01:16:50):
is like, there's ten times stronger than any man. So
Darla says, so so you can't even remember they're called cyborgs.
Johnny Felix makes himself pronounced the name. He says cyborgs,
and Darla then addresses Matt Riker. She says, you think
brute force can solve anything, Well it can't. But Ryker

(01:17:11):
is able to put her at ease. He's like, hey,
you know your brother sent you here. Your brother trusted me,
You should trust me too. Another funny costuming note. By
this point of the movie, Riker is now wearing also
a full body jumpsuit like Johnny Felix, but this jumpsuit
has zippers that come in at angles on the chest
that make it look like a country western shirt, like

(01:17:32):
he's about to do a cowboy song. Anyway, they get
to hunting. So I think after this part, I'm going
to narrate the movie a little bit less closely. We'll
do specific scenes instead of trying to cover everything. But
generally in the middle of the movie, we're gonna have
Matt Riker and Johnny Felix hunting their mutants, Elaine hunting
the uphour on, and then Darla is going to have

(01:17:55):
encounters with a previously assumed destroyed cyborg in Riker's.

Speaker 2 (01:18:00):
Yeah cyborg that yeah, they they seem to terminate in
the initial battle, and it's just laying there. We see
it laying against the wall, and it just looks completely disgusting,
like why would you not clean this out? Like this
thing must just reek of like rotting organic parts and
you know, maybe U four on.

Speaker 3 (01:18:19):
Yeah, yeah, just chopped meat laying there in the wall.
But it'll come up again later. So they set out
on the hunt. And then right after this, right after
the scene with like we're going to hunt the mutants, now,
we cut to Riiker and Elaine in some other different
apartment together and they decide it's time for some loving.

(01:18:40):
It's like, aren't y'all on the clock? I know work
is not everything, but there are mutant cyborgs killing people
every few hours, but they start kissing on each other.
Part of their foreplay involves tossing deadly explosives at each other. Yeah,
and there's one part. I was laughing out loud here
at the way that Elaine unzip Riker's jumpsuit and then

(01:19:01):
peels it back to reveal those awesome tidy white eies
yet again. And then while they're lying naked on the
floor kissing, Elaine says, we have crazy mutant cyborgs out there.
Riker makes an excuse here. He says, you saw the
dark glasses. They can't take the light. Something about no
compatibility of organic and synthetic parts. We have until tomorrow night.

Speaker 2 (01:19:26):
Okay, I'm not sure it makes sense, but I again
I admire that there's a reason for the classes.

Speaker 3 (01:19:30):
That's why they can be doing this. But again, this
scene feels to me like an after the fact interpolation. Yeah.

Speaker 2 (01:19:38):
Now I want to add here there's a love scene here,
but it is amazingly tame, and oh yeah it is.
There's nothing really, There's some very brief newdity in this
film a couple of times, but like blink and you
miss it, sort of thing, and it is kind of
interesting to think about this film in particular, or at

(01:20:00):
least I can't necessarily speak for other Tim Kinkaid pictures,
but comparing the Tim Kinkaid pictures to like to the
fact that he had this career in adult cinema, you
almost get the sense that it's like he has unlike
other filmmakers, and you know, b movie filmmakers, maybe you
just didn't have a desire to explore anything overtly sexual

(01:20:21):
in his sci fi pictures because he already had all
these other films where he'd gotten to explore all of that.

Speaker 3 (01:20:27):
Yeah, there is this romance scene. It does feel kind
of perfunctory, just like something they had to like get
in there and get done really quick. It does not
feel like Kincaid is eager to explore the sexual side
of the story. It just seems like not something that's
a high priority.

Speaker 2 (01:20:44):
Yeah, yeah, I guess it's one of those things sometimes
in pictures, it's like you you portray a physical relationship
in order to imply the emotional connection and the character
level connection that you either don't have time to depict
and establish, or you know, or you just it's not
the sort of film where you do that.

Speaker 3 (01:21:01):
Yeah, that's interesting. I don't know if I've ever thought
about it quite that way, but sometimes I think, yes,
like a kiss can be cinematic shorthand for when you
either don't have time to or don't have the skill
to properly render a developing relationship. Well let's just have
them kiss and there you go.

Speaker 2 (01:21:19):
But I mean, who among us has not fallen in
love during the course of a mutant hunt? So I
think we can all we can all resonate with this scene.

Speaker 3 (01:21:27):
So here we go to our first mutant murder scene
plus Riker's intervention. So we're on a street with graffiti
and trash everywhere. It's nighttime. There's a lady calling out
a window above. She says, Amber Dawn, come inside. It's
two in the morning.

Speaker 2 (01:21:42):
She is apparently we don't really find out until later,
but she's calling a child. This is I guess a
little bit of comic relief that's thrown into the picture.
But there's some kid named Amberdon just out there playing
in two am slime City, Dystopian New York.

Speaker 3 (01:21:57):
I'm playing with the toxic waste mom. Then later, yeah,
there is a U four on couple kissing in an alleyway.
Another couple wandering down the sidewalk. The cyborg smells these
people and then meets them head on on the sidewalk.
The cyborg karate chops the dude, and then somewhere else
Matt Riker is walking around next to a chain link
fence and his watch starts beeping. He looks at it

(01:22:20):
and we see a screen that says human life termination
process in progress, quadrants quadrants E one thirty five human
life termination process in progress. So he starts running to intercept.
You start. You think, man, this'd be faster if he
had a car, because no.

Speaker 2 (01:22:40):
Motorcycle or something. Come on, motorcycles are cyberpunk.

Speaker 3 (01:22:43):
This this New York future has no traffic at all.
We never see traffic.

Speaker 2 (01:22:47):
Yeah, where's the where's the public transportation system?

Speaker 3 (01:22:50):
Also we see now the cyborg is very bloody and bubbly.
So this seems to fit with the theme that as
the cyborgs become good, they are becoming more powerful.

Speaker 2 (01:23:02):
Yeah.

Speaker 3 (01:23:03):
Also, when the cyborg kills one of these people, I
think this is when we just get a bunch of
like meat slop thrown on the ufouron couple who are
kissing in the alleyway.

Speaker 2 (01:23:13):
Yeah, they seem to just be like we we should
be still until the murderous cyborg leaves so we can
commence smooching again.

Speaker 3 (01:23:19):
Yeah, they don't run away or anything.

Speaker 2 (01:23:21):
I want to add that Riker. Yes, we are told
that he is running, and we see him running, but
probably by accident. It ends up feeling like he's not
in enough of a hurry to stop this impending human
life termination because like he gets there right and like
strolls in kind of casually right after the cyborg rips
an innocent person's head off. Yes, and then he's like, like, hey, cyborg,

(01:23:44):
let's do this.

Speaker 3 (01:23:46):
He said. No, this is the line he says when
he gets there. He says, you sure look ugly, real ugly.
Hey cyborg, this cyborg just murdered somebody in cold blood.
Maybe you should have skipped the one line here and
just like jumped in and stop the murder.

Speaker 2 (01:24:02):
I don't know. I'm not going to tell Matt Ryker
how to do his thing. He's the best.

Speaker 3 (01:24:05):
Also, the line seems backwards. He says, hey, cyborg last
instead of first. He also, when they're fighting, there's a
part where he says, don't get me steamed cyborg. He's
going to kill this cyborg either way. What does it
matter if he steamed?

Speaker 2 (01:24:20):
But the cyborg is also thinking, thank you for calling
me by the correct term. I am a cyborg, I'm
not a jelly head.

Speaker 3 (01:24:26):
So Riker is victorious in this fight. And then when
the cyborg is busted down on the sidewalk, I think
he gets out pliers and starts just taking it apart.

Speaker 2 (01:24:36):
Yeah, he kind of like field strips the field dresses
the cyborg and gets the parts he needs to study later.
I want to add that most of these fights also
remind me a bit of nineteen fifties Luca movie action sequences,
not because of the choreography or anything, but the way
that they're staged and shot often wide and long, you
know what I mean. Yeah, yeah, often lower budget situations

(01:24:59):
where you're shooting the action wide and you're letting the
action play out and you're missing none of the beats
of the combat, which in a way is good because
if the choreography is good, then it'll have it'll make
sense from move to move and tell its own little story.
But I don't know, it's not necessarily what we have
going on here.

Speaker 3 (01:25:17):
So in the middle of the movie. There are more
scenes of Demeanor pacing around her empty art gallery talking
to Hydro about how she's gonna get revenge on Z,
talking about how she needs you four on, and also
monologuing to this other being which we now get a
better look at, and it's a mummy. She just says,
a mummy standing in her apartment. It's huffing and growling,

(01:25:38):
and she talks to it kind of like she's hitting
on it.

Speaker 2 (01:25:41):
Yeah. Yeah, which makes me feel worse for Hydro. It's like, yeah,
Hydro has always been here for you, girl, and you're
just touching on this giant mummy cyborg because it's got
to be a cyborg, you know, while Hydro's just standing there. So, yeah,
you feel bad for Hydro.

Speaker 3 (01:25:56):
It almost feels like there should be a scene where
Hydro has like her a present or has flowers for her,
but then he's he's like embarrassed and he doesn't give
them to her.

Speaker 2 (01:26:05):
Yeah. Yeah, she's in there grinding on this mummy and
he's like oh and then he just like head down,
leaves the room with the present, Yeah.

Speaker 3 (01:26:12):
Puts the ring back in his pocket.

Speaker 2 (01:26:13):
Yeah.

Speaker 3 (01:26:16):
So there are scenes of Elaine hunting for U four on.
She's just walking around strange deserted locations. At one point
she's on a beach. She goes to empty factory buildings
and she's singing, you.

Speaker 2 (01:26:27):
Four on, you four on, Where are you this one
particular empty factory building. I didn't look up where this
is or would have been, but it's quite impressive. Like
they you know, there's a lot of gorilla style shooting
in this, but they also they found some cool locations
here and there.

Speaker 3 (01:26:42):
So one of Yeah, if it's the same place you're
talking about, I assume it probably is. It's clearly a
real location. It's way too vast and elaborate to be
to have been built as a set.

Speaker 2 (01:26:53):
Yeah, or a mat painting. This is not a map painting.

Speaker 3 (01:26:55):
No, no, no, no, this is a real place. It's
like a brutalist concrete building with interior facing windows over
this courtyard and then but the courtyard is not open
sky it's got a roof over it with skylight windows,
and then just concrete opera boxes poking out from windows
on the six floors that are facing in. It's a
very cool looking place. Seems like it would have been

(01:27:18):
used for a RoboCop set.

Speaker 2 (01:27:20):
Yeah. Yeah, and this correct me if I'm wrong. This
is supposed to be the Intel Tracks headquarters.

Speaker 3 (01:27:25):
I think, so, yeah, okay, let's see somewhere. Oh there's
one part I wanted to mention, just because it was
unexpected and kind of interesting. There's the scene where the
civilian beats a cyborg. Yeah.

Speaker 2 (01:27:36):
This is great because there's like this, this random Asian
guy walking down the street or doing something. He's doing
something on the street, taking the garbage out. Yeah, and
then a cyborg attacks and you think, oh, this, this
poor guy, this is just gonna we're going to establish
cyborg dominance here.

Speaker 3 (01:27:52):
Yeah. Yeah, you think head's gonna get ripped off again.
But instead, this guy has moves. He starts kicking the cyborg,
he beats it up, and then he runs away.

Speaker 2 (01:27:59):
Yeah he does like some sort of cool flying headbut
to the mid section of the cyborg and wins and leaves,
and you're like, yeah, that was quite a roller coaster ride,
and I'm glad this guy won.

Speaker 3 (01:28:10):
I just assumed any non op who faces a cyborg
is dead meat, but some civilians in future New York
are powerhouses. This guy's one of them. I don't know
what the point of this scene was. It almost feels
like it kind of goes against the theme of the story.
But maybe it's just like, hey, we know this other
guy who's a good, you know, martial artist. We could

(01:28:31):
use him for something, and we don't really have room
for another character in the movie, but well, how about
just we have a scene where he beats up a cyborg.

Speaker 2 (01:28:37):
I guess, so that has to be it. It's like,
this is the sort of thing in a more finely
tuned film you wouldn't find this, or if you did
find it, it would have some sort of important payoff later.
Here is just there and you just enjoy it for
what it is. It's just a gift that the movie
gives you.

Speaker 3 (01:28:53):
Yeah, great scene. Yeah, no notes. There's also the scene
where Demeana kidnaps Matt Reiker. She chains him up in
her place. It tells him the whole plot explains Z's
plot to create mutant these mutant cyborgs. She puts a
bomb in his head, he gets an implanted bomb in
his skull, and then Demino wants to make a deal

(01:29:14):
with Riker. She's gonna help him if he will get
rid of will help her get all of Z's uphour on.
Ryker says, sounds to me like you have a bad
pleasure Jones.

Speaker 2 (01:29:26):
Is that a thing? I guess let me go with
the future.

Speaker 3 (01:29:30):
Demina says quite the opposite. I've created something extraordinary. Z
Z thought he could use upour on to break through
to the next level of strength and intelligence, But all
he did was create sickness and plague. He had the
answer right in front of him all the time. He
didn't even see it. Seems like more rubbing it in

(01:29:50):
Hydro's face. It's like she's talking about Hydro. He's the
answer that was there all along.

Speaker 2 (01:29:55):
Yeah, but she's already kind of threatening. It's like Z's
sick plot. He can't actually pull it off. I'm the
only one who can pull off this sick plot.

Speaker 3 (01:30:05):
Yeah, exactly. So Riiker talks Domina into deactivating the bomb
and planted in his head in exchange for telling Demino
where Darla is, and then she's like all right, I'll
do yeah, and then he just elbows her and escapes. Yeah,
there is a whole plot here where Darla and the
already destroyed cyborg in Matt Reker's apartment start interacting the

(01:30:29):
cyborg has half of its face blown off. The half
that's still there is pretty mangled. As we were saying earlier,
the effects in this movie in general can look pretty cheap,
and some of them are like cheap but great. I
was suddenly pretty impressed with this one, Like this is
elaborate puppetry.

Speaker 2 (01:30:47):
Yeah. Absolutely.

Speaker 3 (01:30:49):
Anyway, Darla sees the cyborg up and moving around and
freaks out. She sees it. I think she's just getting
out of the shower, and it says, doctor, don't be frightened.
I can can't harm you now. Our damaged chromo system
demands that we kill every six hours. I will be
homicidally inactive until six seventeen am.

Speaker 2 (01:31:11):
That's great.

Speaker 3 (01:31:12):
Please, doctor, your brother created us. You know our circuitry.
I am in great pain. You can neutralize my killer impulse.
You must help me. You must return to the lab.
So for a second I thought, well, wait, how sweet
this is. This is about to become Bud, the mutant
cyborg who is friend instead of foe. It's sort of that,

(01:31:33):
but not exactly. He then picks Darla up while she's
screaming and telling him to stop, and he ignores her
and carries her away to Inteltrac's headquarters.

Speaker 2 (01:31:42):
You know this is another lift. I didn't. This is
another grappling maneuver for the cyborgs. This is the put
her heaver over your shoulder approach.

Speaker 3 (01:31:49):
Here and then just carries her down the sidewalk while
she's screaming and like nobody helps her. New York, Yeah,
bade City, slime City. So yeah, this cyborg is now
not exactly nice, but at least homicidally inactive. He just
wants help getting the neutralization of the impulse. So there's
another cyborg street fight scene. We have a gang of

(01:32:11):
U four on heads who try to jump a cyborg
and get his upour on That's what they say. The
cyborg fights back, and then Johnny Felix, who is for
some reason watching from some metal bars up above, intervenes
and fights the cyborg. And I was like, bad strategy.
Why not let the gang fight it first.

Speaker 2 (01:32:30):
I guess he's trying to make friends. I don't know.

Speaker 3 (01:32:33):
Johnny Felix gives the cyborg a good beating. He keeps
whacking it with poles and then he eventually impales its
face with a pipe and then after he beats the cyborg,
the U four on punks try to jump him, but
Matt Reker is there. He's squatting on the roof, and
then he jumps up like Spider Man, and together our
two heroes beat up the punks. I think two of

(01:32:55):
these three guys are the ones who attacked Elaine in
the club.

Speaker 2 (01:32:59):
I believe, so. I think we saw the other punk
in there as well.

Speaker 3 (01:33:02):
Yeah, and getting the Jack Daniels.

Speaker 2 (01:33:04):
Yeah, the punk with the crazy hair, which is another
one of these figures. You just kind of assumed this
was a New York like punk scene character or something
at the time.

Speaker 3 (01:33:13):
While walking away from the scene, Johnny Felix and Matt
Riker get a signal on their watches. They realized the
cyborg in Riker's apartment has kidnapped Darla, so they go
off in pursuit. There's a villain monologue scene somewhere in
here where Z is talking to Paul, who is tied
up on a table, very loosely tied up on a table.
He's just laying on a table with his hands kind

(01:33:33):
of some wires looped around him.

Speaker 2 (01:33:35):
Yeah, these are meta materials, I sim So that's fine,
that's how it works. There.

Speaker 3 (01:33:39):
You go and Z explains his plot goes like this,
You get the U four on, you put the uphur
on in the cyborgs, and then the cyborgs mutate. Now
you have uncontrollable homicidal maniacs with the strength of ten men.
You sell them to the highest bidder. And Z says
he has clients lined up all over the world. Somehow
this makes you capable of global nomination. Sure, that's what

(01:34:02):
he's doing.

Speaker 2 (01:34:02):
Yeah.

Speaker 3 (01:34:12):
At intel TRAC's headquarters, Matt Riker and Johnny Felix intercept
Darla and Bud the cyborg. Bud the cyborg explains that
he has been programmed to feel pain, why and that
he can feel and he wants their help. And in
the middle of the conversation, Elaine blows up Z's cash
of you four on elsewhere in the facility and this

(01:34:32):
causes havoc, but Bud the cyborg tells them, Hey, I
can show you the way to get through undetected, so
follow me. Meanwhile, Domina has another scene with her mummy.
She says she's going to unleash the Delta eight on Z.

Speaker 2 (01:34:46):
Yeah, this is the Delta eight. The others have been
Delta sevens. This is the most advanced cyborg.

Speaker 3 (01:34:51):
Yet she's got the best, and she says, and then
we'll see whose combat units are the most expensive purchases
on this plan this planet.

Speaker 2 (01:35:01):
At least there you go. She's gonna out z Z.

Speaker 3 (01:35:03):
So she starts ripping off the mummies bandages, revealing weird
green runes carved into its back. And then she gets
hot and heavy with the cyborg mummy. She just starts
grinding on it.

Speaker 2 (01:35:14):
Yeah, suddenly her shirt is off and she's kind of
like grinding against it, and yeah, I mean she is
just into this uphuron pumped Delta eight cyborg and is
gonna this is gonna be the the most hotly anticipated
cyborg on the market.

Speaker 3 (01:35:31):
Also, the more goop equals more power, more power correlation
that's holding because when we see the Delta eight Cyborg
revealed at the climax, it is the gooeyest one of all.
They say it is mutated beyond recognition. It's just dripping, Yeah.

Speaker 2 (01:35:45):
Just ball hairless, dripping, smiling, like just completely off its rocker.

Speaker 3 (01:35:53):
So here the character is kind of just running around
in the facility. I think Elaine is blowing up the
U four on Z keeps throwing random grenades at nothing.
I don't know what. He's just throwing things that explode.
And then there's a final showdown at the facility. So
our heroes and their cyborg friend meet Z and Paul,
who is his hostage. Z tries to tell Bud the

(01:36:16):
cyborg that he can help it, but it's a lie.
Paul tells the cyborg, Z made you like this, he
made you kill so Bud the cyborg then grabs z
buy the collar and hoists him high in the air
with an arm stretch to create the image that's on
the poster. We didn't talk about the poster.

Speaker 2 (01:36:34):
Yeah, yeah, there are at least a couple of different
posters from back in the day out there. One of
them is this amazing image of a cyborg slash mutant
arm extending a dude into the air, and I think
that was the reason I ended up watching it. I
was like, that looks awesome, then quickly realizing this movie
might not deliver on that image. But it does.

Speaker 3 (01:36:54):
It really does, And then the cyborg just throws Z
on the ground. Then we get an twist. Demina shows
up with her unwrapped mummy, the Delta eight. She's here
to get her revenge on Z, but by the time
she arrives, Z is already on the ground. So I
guess it's just gonna get revenge on whoever, which is
all of the good guys.

Speaker 2 (01:37:13):
It's plenty of venges to go around.

Speaker 3 (01:37:14):
And so the fight starts. Matt Riker says party time, Felix,
Party time, and everybody fights. Matt Riker squares off against
the Delta eight. It's more fighting basic kicking and jumping attacks.
Elaine fights some other random cyborgs. At first, Johnny Felix
just stands there watching with his arms crossed, not helping

(01:37:36):
his friends.

Speaker 2 (01:37:36):
He's powering up. Yeah.

Speaker 3 (01:37:38):
At one point during the fight, Johnny Felix yells, God
has come out of the ceiling what. I don't know
what that means. But Elaine beats up some cyborgs and
there's a funny part where she kicks a cyborg in
the crotch after she knocks it down, and this makes
a metallic clanking sound like oh, no crunching in this

(01:37:59):
cry It's just a metallic clank. Yeah. And then Johnny
Felix beats up a couple of cyborgs and then stomps
on them and we see him lift his foot up
from stomping on them, and it's just sticky pizza pizza
bubblegum on his shoes. And at one point Riker in

(01:38:19):
the fight jumps on the Delta eight's back and rides
at piggyback. Yes, yes, but then there's the cyborg intervention.
So the Delta eight gets Riker on the ground and
then reaches out with its hand, just holding its hand
out to him, and then Bud the Cyborg, the now
sort of friendly cyborg, says, watch out its hand, don't

(01:38:40):
let him use his hand, and then Ze shoots Bud
the Cyborg with a laser so he's done for and
then the Delta eight hand starts to glow. It glows
from inside like a salt lamp. And then before the
Delta eight can use his hand. Whatever this is going
to mean, Darla intervene. It's Darla, sister of Paul. She

(01:39:01):
intervenes and shoots the Delta eight with a laser gun
and that does it. Delta eight collapses and Matt Riker says, thanks,
ever thought about mercenary work. Elaine tells her, yeah, she'd
be great at it. But here z still injured and
on the ground. He's got to get one last pot
shot off, so he shoots at Paul, but it's non fatal.
It just hits him in the arm. And then Matt

(01:39:23):
Riker says, I'm not going to take a bad guy
out when he's on the ground, just kidding. He shoots
Z and then Z bursts into flames and then starts
wiggling around making mechanical sounds. And I was like, what
is Z a cyborg that doesn't make any sense?

Speaker 2 (01:39:40):
Doesn't make any sense, but it does. It's a head scratcher.
What would that mean for everything we've seen so far?
As Z himself was also cybernetic, maybe he just has
a lot of cybernetic parts. Like he's you know, augmented
himself a lot. I don't know.

Speaker 3 (01:39:53):
Oh, kind of like Johnny Felix, except instead of just
getting a phone in his ear, he's parts all over.

Speaker 2 (01:39:59):
Yeah. When you're the d tracks CEO, there's all sorts
of like brand new bleeding edge gear you can have
loaded up inside you.

Speaker 3 (01:40:06):
He's like Alex Rain and Nemesis. He keeps getting his
machine percentage of Oh.

Speaker 2 (01:40:11):
Man, can you imagine al totally different visual cinematic worlds?
But can you imagine those two cybernetic visions converging here.

Speaker 3 (01:40:20):
It's like Jetson's meet the Flintstone Nemesis, Nemesis meets Mutant Hunt.
That should have been a crossover event absolutely. And then
the sort of the coda to the film is elsewhere
on the street, a mother calls to her child who's
out playing on the sidewalk below. And we see the
child and this is the Amber Dawn who is being
called for earlier, who's like a little kid, not an adult,

(01:40:42):
and the child locks eyes with the goofy cyborg who's
down on the street there, and the cyborg smiles. I
think it is supposed to recall the scene in the
original Universal Frankenstein. Yeah, with the kid and the monster. Yeah.

Speaker 2 (01:40:55):
I guess. So it doesn't really have any depth or
meaning here, but it's just kind of a a fun
way to round things out. And I don't know, I
can imagine an Amber Dawn character creating, you know, establishing
a relationship with monstrous cyborgs and eventually becoming either the
nemesis of Alex Rain or fighting alongside him. I don't know.

Speaker 3 (01:41:16):
Oh wait, I have a question. I'm sure we do see,
but I just forgot what happens to Demeana at the end.

Speaker 2 (01:41:22):
Great question. I have no idea that she she just
runs off. I don't remember her getting her blasted or
torn in half or anything like that.

Speaker 3 (01:41:32):
I don't want to say we don't see it, because
I may have just not remembered. But no, I forget
what happens to her if we see so. Good question.

Speaker 2 (01:41:41):
Yeah, maybe I will go as far to say not
firmly established if I don't remember it, because again, she
was one of my favorite characters here.

Speaker 3 (01:41:49):
Yeah, okay, well that is mutant Hunt rob Strong selection,
good pick. I love it. I'm going to order the disc.

Speaker 2 (01:41:59):
Awesome. Yeah, yeah, this one. I wish I had time
for the disc, but as you mentioned, we were both
traveling at the time, and I just needed something to
watch on the airplane for Weird House. And this is
the sort of film that I find that if I'm flying,
I need to watch a film of this caliber. I
haven't completely come up with a reason for why that is,
but this is what works for me. Films like this,

(01:42:20):
films like Franken Hooker, these I need to watch amid
strangers a board an airplane.

Speaker 3 (01:42:26):
I was getting distinctly self conscious about like this older
lady next to me seeing what I had on my
screen all I'm watching.

Speaker 2 (01:42:33):
I don't know she needed to be exposed to Mutant Hunt.
She's probably looked it up already and she's ordered her
copy as.

Speaker 3 (01:42:38):
Well, I would hope, So that would be nice.

Speaker 2 (01:42:41):
All Right, We're going to go in end the hunt
right here, but we'd love to hear from everyone out there.
If you have thoughts about Mutant Hunt or any of
the films we've discussed in this picture, or films we've
covered in the past in Weird House, or films you
think we should absolutely cover in the future, reach out
to us. We'd love to hear from you. Just reminder
to everyone, it's stuffed. Tobi Your Mind is primarily a
science and culture podcast with core episodes on Tuesdays and Thursdays,
but on Fridays we set aside at all of that

(01:43:03):
and we mostly just talk about a weird film here
on Weird House Cinema. Look us up on Letterboxed We're
Weird House. We have a nice list of all the
movies we've covered over the years, and sometimes a peek
ahead at what comes up next.

Speaker 3 (01:43:13):
Huge thanks as always to our excellent audio producer JJ Posway.
If you would like to get in touch with us
with feedback on this episode or any other, to suggest
a topic for the future, or just to say hello,
you can email us at contact at stuff to Blow
your Mind dot com.

Speaker 1 (01:43:33):
Stuff to Blow Your Mind is production of iHeartRadio. For
more podcasts from my heart Radio, visit the iHeartRadio app,
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