I usually have a bit of a problem with zombie movies – I find them dull. Yes, I know zombie fans will be throwing their Walking Dead box sets at my head (and those are some hefty tomes) but I find that, although they may be a popular horror monster, zombies are forced to rely heavily on the cheap, gross-out factor in order to distract from the fact that they have scanty horror mileage, no rich mythos to draw on and offer little scope for variation, tension or development. I am left to suppose that zombie fans are in it for the fashion statement. I am however, an Asian horror enthusiast.
Let’s face it, the 1980s were awesome! So it’s expected that nostalgia will run rampant, but few modern films have been able to capture the decade’s idiosyncrasies like Turbo Kid.
“This is the future. The world as we knew it is gone. Acid rain has left the land barren and the water toxic. Scarred by endless wars humanity struggles to survive in the ruins of the old world, frozen in an everlasting nuclear winter. This is the future…this is the year 1997.”
Those who might shift the blame for Cell’s shortcomings onto a writer with a feeble understanding of the source book should be aware that Stephen King himself had a hand in composing the screenplay. Not only that, he also warned admirers of said novel that some changes that might rub them the wrong way would be imminent. King wasn’t lying, having willingly helped turn a visceral and harrowing work like Cell into a limp-wristed 28 Days Later riff with too many cut corners to freak out seasoned horror buffs.
“When everyone is connected, no one is safe…”
Doug Roos’ independently produced, feature-length, post-apocalyptic horror film was promoted primarily on it’s practical special effects, make-up and lack of computer-generated imagery (CGI). In this respect The Sky Has Fallen does not disappoint. Shot in Missouri and clearly influenced by Ryuhei Kitamura’s Yakuza/Zombie splatter-fest Versus (2000), The Sky Has Fallen combines elements from various horror subgenres and, whereas most would fail, Roos’ somehow manages to make everything work cohesively with only a few missteps.
“All practical FX. No CGI.”
Let’s get right to it; is this movie the final installment of The Bronx Warriors trilogy that includes 1990: The Bronx Warriors and Escape from the Bronx, or not? The short answer in my opinion is no, it most definitely is not. It bears no resemblance, nor any connection to the previous films that I could detect; though it is supposedly set in New York, I don’t recall any reference to it in the dialogue.
“For an ENDGAME champion in the year 2025, there’s only one way to live. Dangerously.”
Let me just preface this article with the acknowledgement that I loved this movie way out of proportion to what it probably deserves. If you’ve seen it or do so in the near future, it’s a tossup as to whether or not you’ll feel the same way about it that I do. You might gag and roll around on the floor foaming at the mouth miming, “My eyes, my eyes!”
But seriously, have you seen it yet?
“An outrageous post-nuke adventure!”
Is Turbo Kid really a B-movie? Can a film be considered that grade if it’s an intentional and very aware homage? Or must it be classified something else? Ah, but it does the homage thing so very, very well…literally to a level that it exceeds the films that inspired it. What’s additionally amazing is that the makers of Turbo Kid are clearly aware of what they’re doing…
“Coming soon to a wasteland near you!” PRESS PLAY ►