Y2K (2024)
Film that imagines what might have happened if the Y2K Bug had occurred and resulted in a machine revolution
The Science Fiction Horror and Fantasy Film Review
Machines Amok refers to any kind of machine that rebels against humanity. Machines can be anything from Robots and Androids, Artificial Intelligences and Super-Computers, to vehicles (see Fantastical Vehicles) and even tv sets, home appliances and killer lawnmowers.
Frequently, a machine developing Artificial Intelligence and the ability to think for itself is a cause for it to go amok. In other cases, it is a programming error, a simple accident or an outside force like a lightning bolt, sabotage or alien influence.
Machine rebellion can range from all-out war with machines seeking to exterminate humanity, their wanting freedom from being treated as a slave class to them developing a personality and seeking to lead their own lives. In the horror genre, we have a number of malevolent or possessed vehicles and appliances.
Film that imagines what might have happened if the Y2K Bug had occurred and resulted in a machine revolution
A hit for novelist Michael Crichton who made his directorial debut here. Themes of machines going amok run throughout Crichton’s work and here he comes up with the ingenious idea of a Western simulation playground using androids that proceed to turn against the humans
WarGames was a thriller that was way ahead of its time; this sequel is no more than video fodder exploiting recognition factor that reduces the original to hacker movie cliches in a technically ill-informed and incoherent plot
This has the novelty of a monster that is an evolving fusion of machinery and organics. While it is all directed with much noise and fury, it is ultimately no more than another copy of Alien
Director Brett Leonard started the fascination with Virtual Reality off with The Lawnmower Man but shot himself in the foot with this absurd braindead follow-up in which Denzel Washington pursues a madly OTT Russell Crowe as an android serial killer
One of the numerous Virtual Reality films to come out in the mid-90s, this seems undecided whether it wants to be an SF or an erotic film
Completely ridiculous martial arts SF film with Don ‘The Dragon’ Wilson as a future cop fighting a videogame character incarnated in the real world
Canadian film about a man rebuilt inside a cyborg body. What started as a Frankenstein film is turned into a copy of The Terminator
Seventh of the V/H/S Found Footage horror anthologies, this is one of the best with a number of the episodes venturing into SF and others that feature some genuinely outlandish moments
Sequel to Roland Emmerich’s Universal Soldier, this brings back Jean-Claude Van Damme but otherwise substitutes a brain dead plot that has him facing an evil A.I.
Arch Oboler makes this madcap comic where milquetoast Hans Conreid’s life is turned upside down when his tv set becomes possessed by a mischief-making robot from the future
The greatest science-fiction film ever made? Stanley Kubrick goes against all convention – the film is slow, has no clear story and reaches an enigmatic ending and yet it is a work of brilliance, both visually and in terms of effects technology
Remake of the same Stephen King short story that formed the basis of Maximum Overdrive about trucks turning against humanity … Why remake a work that was poorly regarded first time around is a good question but this actually emerges as the better version
Tron was a groundreaking work that predicted the advent of cyberspace. Three decades on, this sequel never does anything as imaginative, although advances in effects technology allow for a dazzling reinvention of The Grid
Tron was a genuinely groundbreaking work. It is hard to describe how ill conceived this sequel is where we have gone to predicting the idea of cyberspace to a fight over a glorified 3D printer
A flop in its day, nobody at the time saw how revolutionary this was in that it predicted the idea of cyberspace and the internet. The design of the world inside the computer all in candy apple colours and geometric shapes is extraordinary
Transmorphers was The Asylum’s mockbuster copy of Michael Bay’s Transformers and one of their better films. When Bay released his sequel Transformers: Revenge of the Fallen, The Asylum also made this prequel
A film that bites off some Big Ideas from the transhumanist movement – A.I., nanotechnology, and especially Mind Upload – and fails to do anything with them except for reach for hoary cliches of Frankenstein science. A film that, despite its self-importance, ends up as only a better budgeted version of The Lawnmower Man
Extraordinary directorial debut from Japan’s Shinya Tsukamoto, a frenetic, fetishistic and surreally deranged vision of man-machine fusion that feels like David Lynch having gone away and done a crash reading course of William Gibson
Shinya Tsukamoto’s third Tetsuo film is a disappointingly commercial concession that waters down all of the surrealism and wild sexual fetishism that made the first film so amazing
Shinya Tsukamoto makes a better budgeted sequel to his breakthrough hit. The first film was a masterpiece of guerilla filmmaking but the same frenzied fetishism is missing here
The fourth Terminator film is slightly better than you would expect of something directed by the empty-headed McG. There are some undeniably spectacular action sequences, although the film still stands too much in the shadow of what has gone before
A hodgepodge of competing elements – an aging Arnold Schwarzenegger, a soft reboot, alternate timelines, reintroduction of the familiar, twists to the familiar – that make no sense on a narrative level, least of all come anywhere near what James Cameron delivered back in the first two films
The sixth Terminator film that boasts the return of both James Cameron and Linda Hamilton to the franchise. After the troughs of Terminator: Genisys, this makes one forget about the last three sequels
After the highs of James Cameron’s first two Terminator films, this was a crashing disappointment. Schwarzenegger is back but his performance has become self-parody and the uninspired action sequences are accompanied by some terrible effects
The first sequel to The Terminator where James Cameron returns with the biggest budget for a film at the time. Cameron harnesses then top-drawer CGI technology to create one of the most original nemeses in any SF film
One of the 2-3 most influential SF films since 1980. James Cameron creates a barrelling powerhouse of a film, all lorded over by Arnold Schwarzenegger as the relentless killer machine in the role that defined his career
We have had a spate of films in the last few years about androids and A.I. This has to count as the first film about an android stalker
The nadir of the Christopher Reeve Superman films, one where the desire to add a comedy element in the form of Richard Pryor overtakes and wrecks what is already a random and unfocused plot
We have had some standout A.I. films in the last few years. This is comedy variant where Melissa McCarthy is befriended by an A.I. who adopts the voice of James Corden
Beautifully made Mamoru Hosoda film about a rogue A.I. taking over a social media network. A film that is also a heartwarming work about family togetherness
Another android gone amok film with former sex symbol Megan Fox cast as an android nanny who starts defying her programming
Action film about an artificially intelligent fighter plane that goes amok. Rob Cohen directs in all the cliches of the genre and the seeming need to have something spectacular happening every few minutes
Long-awaited revival of the tv series on the big screen. While this has a mixed fan reception, it is well worth re-evaluation. It is the only one of the Trek films that reaches for epic, mind-expanding places to find something of a 2001: A Space Odyssey
Sam Raimi and Tobey Maguire get it just right in the second entry in their trilogy of Spider-Man films. The writing team deliver a fantastic Soul of the Superhero script while Raimi delivers some superheroic action sequences that are about as exciting as it is possible to get (*)
Superlative film that recreates an imagined world of 1930s retro sf filled with flyer heroes, giant robots and stunning Art Deco designs.
John Cusack as a super-villain unleashing an army of giant robots against humanity – what’s not to like? Well maybe the entire film, which fails to leave no Machines Amok cliche unturned. Cusack gives a performance through gritted teeth no doubt at the atrocious dialogue he has to utter
Another in the spate of recent A.I. films of the 2010s/20s. Here one can buy android replacements for one’s late spouse but someone is hacking and causing them to go rogue
The English-language remake of the Dutch film The Lift about a killer elevator. Starring a then unknown Naomi Watts in a role that would probably embarrass her now
Disappointing sequel to the modest original that does little but revisit and re-run the first film’s scenario with little to add to it
Modest and underrated Philip K. Dick adaptation that builds reasonable atmosphere during its journey across a planet and doubt as to who among the party might be one of a breed of evolving androids
Ambitious if not entirely successful film with Harvey Keitel building a robot that proceeds to go amok on a moonbase inhabited by Kirk Douglas and Farrah Fawcett
Michael Crichton’s books and films are always run through with a fear of technology run amok. Here Crichton makes an enjoyably straightforward directorial outing about a police squad set up to stop runaway robots,
Katsuhiro Otomo written anime that functions as a parody of the school of Transformer robots as the artificially intelligent hospital bed of a geriatric becomes a giant ramshackle colossus rampaging through the city
A pneumatically inflated heroine fights the machines amid a standard array of space opera and post-apocalyptic future tropes
From Italy, a blatant copy of Predator – only where instead of a military unit being hunted through the jungle by an alien, they are hunted by a copycat of RoboCop
Rather entertaining film from The Asylum about the machine revolution that overspills with madcap technological invention
Micro-budgeted SF film where a nanoswarm is accidentally released, taking over an apartment building and reprogramming technology
While the title sounds like a cheesy faux B movie, this a surprisingly serious work. Taking undeniable influence from tv’s The Tripods , it is a YA work about the fight to free Earth following a machine invasion that proves far more entertaining than anything one expects of it
One of the earliest works from Katsuhiro Otomo, the cult director of Akira, although he only contributes one episode to an anthology of anime tales with the common theme of robots. The collection contains some impressive and visually striking episodes
Another unnecessary entry in a creativity-handicapped series, the continuing popularity of which is baffles. This shuffles through the familiar moves, brings back several familiar characters but only leaves me asking why I have invested some nine hours of time following this series
Third of the Resident Evil films. This expands the scale of action to show the entire world destroyed by the virus but for all that and a decent budget, director Russell Mulcahy fails to push the elements to a suitable head of steam
Based on the survival horror videogame, this was the first in a surprisingly popular series of films. It also presaged a major return of the zombie film during the 2000s/10s, even if this only treads where George Romero went better before
A film about a possessed refrigerator!
An astoundingly bad low-budget RoboCop copy about an android motorcycle cop that goes amok
Modest and underrated film where the electrics all around start conspiring against people with murderous intent
Third in the series about android terrorists, this is now about an amok android on a spaceship
Sequel to the ridiculous Project Shadowchaser, which has another android terrorist this time take over a nuclear power plant
Completely ridiculous mix of The Terminator and Die Hard where, for no clear reason, an android terrorist decides to take hostages in an office building and the FBI’s only hope is a cryogenically unfrozen football player
Another horror anthology with each episode from a different directors, united around the wraparound theme of stories being told by patients in a strange psychiatric facility
Early anime from Mamoru Oshii of Ghost in the Shell fame about a police squad set up to deal with giant robots gone amok. All of Oshii’s visuals and fascinating play of ideas are present
Low-budget film that steals the premise of Westworld in the story of an amusement park that recreates the world of 1940s film noir with androids, which proceed to go amok
There have been some impressive works about A.I. in the last few years. This plays out as Ex Machina by way of Training Day and is only notable in its ridiculous implausibility
This falls short of being a great science-fiction film by a hairs breadth. Not the big space/action film it was sold as, more a Philip K. Dickian conceptual breakthrough film that seems to have borrowed large chunks of its set-up from Moon
Extraordinary animated film from Shane Acker concerning the lives of a series of stitchpunk dolls as they try to make sense of the world in the aftermath of civilisation
Whose bright idea was it to give us kid versions of The Avengers (ostensibly their children)? While Marvel have had an unparallelled string of hits on the big screen in the 00s, their attempts to replicate the successes that rival DC have had in animation have been a dismal failure
Albert Pyun’s finest film. It is another of his standard killer cyborg films but comes with an often hauntingly written gritty Cyberpunk edge that makes it quite unique
A directorial outing from Mattson Tomlin, a screenwriter on the rise of recent, Chloe Grace Moretz is a pregnant woman struggling to survive in the aftermath of the android rebellion
A.I. film directed by Ridley Scott’s son. The set-up seems awfully similar to Ex Machina – unfortunately, this sidesteps any of that fascinating questions about A.I. that film dealt in, while the latter half just becomes The Terminator before reaching a frankly unbelievable twist ending that sinks the film
Roland Emmerich returns to mass destruction with a film about The Moon on a collision course with Earth, which heads in some conceptually challenging directions
A surprise delight, an animated film that overspills with madcap creative energy concerning a misfit family on a road trip who come up against the machine revolution
Episodes of the original Battlestar Galactica tv series that were recut and screened theatrically for international audiences
Third in The Asylum’s series of Mega Shark films where they borrow the Godzilla series’ idea of Mecha-Godzilla and pit the Mega Shark against a robot copy of itself. Here the Mega Shark series is starting to approach the entertaining silliness of their Sharknado films but still flounder amid tatty effects
Third of The Matrix sequels and the weakest of the series. This offers one showstopping effects sequence, on the other hand it also leaves a host of unanswered questions dangling
One of The Wachowskis returns to the world of The Matrix and rather wittily turns it into an anti-blockbuster about her reluctance to do so
The first of the sequels to The Matrix inevitably disappointed on the massive build-up. The Wachowskis leave more questions than answers, while the new action scenes are often jaw-dropping they also feel boiler-plated on
A film that was as groundbreaking when it came out as Star Wars was in its day. The Wachowskis create a defining work on Virtual Reality themes and do so with a sublime cool and a series of breathtaking action moves that blew everybody away
A French animated film, SF noir set on a future Mars with detectives fighting against someone who is jailbreaking robots. This deploys a strong and confident use of Cyberpunk tropes
Group of young people get away to a smarthome for the weekend, which then tries to kill them. The most ridiculous amongst a mini-spate of films about smarthome A.I.’s
Tobe Hooper’s The Mangler was one of the worst of all Stephen King adaptations and this is modern sequel generating of the worst order where the Mangler now becomes an A.I. and a computer virus
The single worst Stephen King adaptation ever made. Director Tobe Hooper fails to approach the story of a possessed laundry press with the same drollness that King did and inflates it into something ridiculous
Really odd, even at times touching, Japanese film about a man’s thwarted attempts to have sex with his android maid
A fascinating and well told work about artificial intelligence and mind upload. If the third act falls into disappointingly cliched patterns, this is nearly three-quarters of a strong and intelligent science-fiction film
A horror film about an artificially intelligent children’s doll that resembles one of the Big Eyes paintings, which then proceeds to go full-on Terminator
Sequel to the killer doll film M3gan that is a much better work than its predecessor. If the original was Child’s Play by way of The Terminator then this is the series’ equivalent of Terminator 2: Judgement Day
A Dutch film about a killer elevator that gained some attention when it came out. This generates some reasonable suspense but it also has a plot that drags considerably
A 1950s alien invader film that is driven by the quite imaginative image of a giant black alien cube marching across the countryside devouring all forms of energy
This tv movie’s premise – “a killer bulldozer” – has had it slotted into bad movie stakes. It was clearly intended as a copy of Duel and its killer truck premise but lacks Steven Spielberg as director
Modest British film about a unit of soldiers on an exercise who become hunted by killer robots. With effects that easily rival those of bigger-budgeted Hollywood films, this produces a very intensive little film
Amiable comedy about an annoyingly intrusive artificially intelligent mobile assistant that wreaks havoc on its owner’s life
An animated Marvel films released at the same time as Iron Man Three. With action scenes that kick every Marvel animated film out of the park and lots of Marvel fanservice cameos
A spinoff designed to feature Robbie the Robot, the scene-stealer from Forbidden Planet. Here Robbie has been sent back in time to the present where he is befriended by a young boy
A completely ridiculous film that throws in an incomprehensible mix of an amok A.I.’s that takes over a stealth plane, UFOs, mind control and military conspiracy and proves badly made on every single count
Disappointing adaptation of Isaac Asimov’s Robot stories. The film pays token acknowledgement to Asimov’s characters and universe and mostly seems interested in spectacular effects set-pieces
An amateur-looking film set after the robot apocalypse concerning a girl and her friendly robot who must make a journey across the wasteland. This at least boasts some well-integrated robot effects
A unique and original fallout shelter drama from Australia that sits in an interesting place of ambiguity. What makes the film stand out is its unique robot design
Horror movie about computer game designers dealing with a motion-capture suit that has gained life and is trying to kill them. This has nothing in common with the 1950s film beyond the title
Richard Stanley film where killer robot invades and takes over a girl’s apartment. Stanley transforms the film into an astonishing vision of pure unfiltered Cyberpunk. One of the most visually dazzling directorial debuts of its day
A live-action Japanese-made mecha/transformer film that creates a dark industrial world as setting and fills it with some stunning effects
A Russian attempt to create their own equivalent of an Avengers film. The results emerge surprisingly better than you expect and with some standout effects