Hardware

Es dauert eine Weile, bis man sich auf Richard Stanleys seltsamen Wellenlänge einstimmt. Seine eigenwillige und stark stilisierte Vision einer postapokalyptischen Zukunft im Rhythmus des Cyberpunk und der dunkelroten Farbe ist sehr beeindruckend, aber der Film fließt relativ langsam und es ist eine Weile nicht ganz klar, wo er eigentlich hinführt. Dieser Eindruck wird jedoch durch das ziemlich wilde und übertriebene Finale, in dem es an Gore und elektronischen Komponenten nicht mangelt, unterbrochen. Und dazu noch die kleinen Auftritte von Lemmy und Iggy Pop, psychedelisch gefärbte Traumszenen und großartige Musik, also lasst euch nicht täuschen. Eine ziemlich eigenartige Vorstellung, die es nicht ganz einfach macht, sie objektiv zu bewerten, also lasse ich mich vielleicht ein wenig von der Bewertung mitreißen. Man kann Stanley auf jeden Fall nicht den Sinn für Atmosphäre absprechen. (12.09.2019)

Ein Cyberpunk-Horror aus einer postapokalyptischen Zukunft, in dem eine ziemlich hübsche Rothaarige es mit einem mordenden Roboter in einer verschlossenen Wohnung aufnimmt. Erwartet viele rote Filter, POV aus der Sicht eines hinterhältigen Schrotts, einige scharfe Gewaltszenen, Rock-Metal-Musik und kleine Auftritte von den legendären Lemmy und Iggy Pop. Vielleicht etwas Trash, aber definitiv mit Eiern. (27.05.2016)

My journey through this film - from utter boredom and confusion to great satisfaction. For the first half you don't understand what the film is trying to tell you, where it is going, you just notice at the very beginning a pretty nice production design, Iggy Pop's voice as a radio DJ and Lemmy Kilminster in a small role of a taxi driver playing his Mötorhead hit “Ace of Spades”. With an hour and a quarter to go, you know the plot won't leave one apartment for the rest of the film and you wonder what else they're going to fill it with, given the simple premise. And then, with the robot attack, a geyser of visual creativity, visual personality and some pretty snarky gore is unleashed. There's a bit of Terminator, a lot of Tetsuo, a bit of Blade Runner, and gut-busting gore that would put Fulci to shame. Very, very unexpected indeed, how the film radically switches gears and goes from being a moribund B-movie to a visually distinctive piece that mixes genres in an original way. (24.02.2024)

A cynical and very brutal variation on Terminator for those who consider Terminator to be a children's bedtime story. After Sarah Connor comes another heroine who must face off against a dangerous robot. After she starts making a statue of it in her apartment from its broken parts found in the desert, thinking it was a harmless maintenance robot, the machine reactivates itself and tries to attack the heroine with its iron penis. In reality, it is a military robot designed to sterilise women in an overpopulated world. We won't go into any psychoanalysis here and let's get straight to the rating. Hardware rips off a number of well-known sci-fi classics (from Blade Runner to Alien), but there are a few unorthodox elements. While most post-apocalyptic films take place mostly outdoors, here we spend most of our time in a claustrophobically small apartment. Still, thanks to the eye-catching production design and cinematography (as well as the handsome lead actress), the film is a stunning visual treat. The production designers managed to get creative with a small budget and made impressive sets out of just old junk. Music video director Richard Stanley does a decent job with atmosphere, and with the help of background sounds, he manages to give the feeling that there is a vast living world outside. However, he can't break free from his music video roots and the feature length runtime is too long for him. As a result, the film feels like an unnecessarily drawn-out short (the robot is defeated and repeatedly revived) and, like the central robot, is pieced together from various elements into a somewhat disparate whole. The result, in short, is what I would describe as a “gothic cyberpunk MTV art giallo on acid” – an interesting but chaotic pastiche. The action scenes are often jumbled together from video clips without much coherence. The robot is well-designed and looks quite scary in the gloomily lit apartment, but moves too slowly and clumsily to be dangerous. Still, the distinctive visuals make this cult film an unforgettable experience. After a second viewing (on Blu-ray, where you can properly enjoy its extremely saturated colors), I even liked it a bit more than the first time. And who knows, maybe the third time I'll discover its hidden genius. (20.10.2016)