By any short description of its plot, this film should be amazing and meta. Like Kung Fury or Galaxy Lords, but, let’s be frank, it is so not that. Someone at Netflix should produce a reboot and it would probably be amazing. No, instead, this film has an actor in a robotic Truman Capote getup smashing through dozens of cardboard sets and flailing vaguely in the direction of characters who dutifully scream and drop from the non-contact karate chop.
It is a pathetic paean to its source material, the much more well-done Cybernauts from The Avengers, (the British one with younger Olenna, not the Marvel one with the cosmic purple snap crackle and pop.)
Sci: F (0 of 4) How believable are the interfaces?
The mission slot has some nice affordances, but deep strategic flaws. The mission card is a copy by someone who didn’t quite understand what they were looking at. The trivium bracelet and remote just break all believability, earning the film a flat zero.
Fi: B (3 of 4) How well do the interfaces inform the narrative of the story?
ID card goes in slot, evil robot finds that person. Bracelet roboticizes people, remote controls them. As dumb (and derivative) as the technologies are, the interfaces help you understand the kindergarten-minded rules for technology in this diegesis.
Interfaces: F (0 of 4) How well do the interfaces equip the characters to achieve their goals?
Recall that these interfaces all serve the bad guy. The mission slot interface is actually quite nice for its simplicity, but loses any credit since it ultimately becomes a paper trail of evidence against him, all in one convenient robot just waiting for authorities to uncover. The bracelet might get props for being easy to get on, if it wasn’t also as easy to get off again and need tailoring for each new victim. The remotes are also quite nice for their simplicity and even visual hierarchy, but only by virtue of apologetics and thinking of it as a prototype. All knobs and modes needed labeling, anyway. So, a goose egg.
Final Grade F (3 of 12), Dreck.
Don’t bother. Or do bother, but only to get a schadenfreude chuckle out of the ordeal. Or maybe some tripping material from the janky transfer.
So, loyal readers may rightly ask themselves why on earth I reviewed this pile of metallic crap, which is unknown, uninfluential, and rightly condemned to the trash bin of cinematic B-movie history. One glance at the Youtube transfer (or perhaps the directors oeuvre) should have made all this clear, yes. Well, here are three reasons.
- It’s the film’s 50th anniversary, which is adorable.
- I try not to judge a book by its cover, and delight in trying to find truffles in oubliettes.
- It was a very lightweight way (only four interfaces!) to begin a year dedicated to AI in sci-fi.
In case that last bit didn’t land, let me reiterate outside a bullet list: All posts in 2019 on this blog will focus on the topic of AI in sci-fi. And this film belongs in a category of one of our oldest kinds of fictional AIs, the Judaic story of the Golem.
It’s been told time and again in different ways, but in most tellings, the golem is a construct that mindlessly obeys whatever instruction it is given, and in its mindless interpretation, does grave damage, even turning back on its maker. Other shows utilizing this trope include Metropolis, Battlestar Galactica, the Alien franchise, The Sorceror’s Apprentice, and 2001: A Space Odyssey. I even think that Arabic stories of djinn fulfill the same purpose. Each illustrates how agents that ruthlessly pursue goals—with neither the human sense of reasonableness or the ethical concern for human wellbeing—can go devastatingly awry.
They are conservative tales in the apolitical sense that they imply we should be very very cautious when engaging these kinds of machines. Don’t start until you’re absolutely sure. This is a key concern for AI. How do we ensure that the intelligences we build do what we want them to, reasonably? How can we encode a concern for humanity?
Luchadores doesn’t provide any answers, just a warning, some awesome masks, and an occasional piledriver. But we’ll be on the lookout as we continue looking at other examples of sci-fi AI.
Given that the last review I completed was the Star Wars Holiday Special, which was also Dreck, maybe it’s high time I complete a good movie. OK, then. That means back to Idiocracy. And yes, in that tale of stupidity, there is a surprising tale of super intelligence.