Times are tough. Loads are scarce. For John Canyon, being an independent owner operator space trucker in the year 2196, without the influential assistance of conglomerate sponsors and big corporations, is the last freedom in the last great frontier, but even Canyon needs to earn a living and when a questionable load becomes his only way out of a jam with the authorities, Canyon and his new and young partner, Mike Pucci, snatch the haul bound for Earth. Manifested as carrying sex dolls, Canyon and Pucci become suspicious of their cargo that’s loaded with a fatal self-defense mechanism, but when encountered by space pirates, lead by former company man named Macanudo, the space truckers learn their hauling thousands of virtually unstoppable killer cyborgs programmed to conquer Earth.
In today’s age, a nationwide driver shortage threatens to slow down crucial logistics worldwide. Director Stuart Gordon (“Re-Animator,” “Dagon”) with co-writer Ted Mann had the inverse premonition that trucker cargo would be at a premium in the space; the point A to point B in a timely fashion has not and neither have the negotiations of rate costs and demurrage time in this world-saving adventure entitled “Space Truckers.” In the same science fiction-comedy vein as the similarly colorful Luc Besson’s “The Fifth Element,” “Space Truckers” has that unrefined inviting quality about it, categorized as blue collared heroes, that complete the dynamic character arcs, but what’s more interesting about “Space Truckers,” which was released a year earlier than Bruce Willis film, was that it was constructed on a third of the budget, making the film one of Stuart Gordon’s most expensive and ambitious projects chocked with square pigs in cages, a self-built cyborg with a ripcord sexual organ, and an army of ass-kicking fembots with disintegrated lasers…”Space Truckers” is out of this world fun!
In the realm of Sci-fi comedy or fantasy, one legendary actor has nailed his performance in every flop that’s too big for commercial audiences. From “Waterworld” to the movie adaptation of popular and beloved video game, “Super Mario Bros.,” Dennis Hopper ruled the 1990’s with memorable, fascinating, and engaging overweening characters, especially villains, but Hopper snags John Canyon, a long in the tooth trucker who prefers to work alone. Hopper’s in his element, in control, and in the lead role despite not being top bill; instead, a young Stephen Dorff would be eyed as the one to provide fresh protagonist momentum into the mid-nineties. Dorff’s rather low-key to Hopper’s giant persona and that’s inherit to the character’s written traits, by always complimenting and complying with and whatever John Canyon says, but the soon-to-be “Blade’s” Decon Frost actor has a sturdy performance that’s portly as any trucker can be portrayed and has great repertoire with Debi Mazar as a trucking hub waitress who needs a hitch a ride to Earth. Mazar’s all-natural New York City accent compliments her guido-type character attire and she downplays her beauty with instilling innocents and ramping up the wit when the scene calls for it. “Game of Thrones'” Charles Dance makes an appearance as the space pirate captain Macanudo and Dance has always has a steel complexion, but in “Space Truckers,” he lets his hair down as far as becoming subjected to hours worth of cyberpunk makeup and prosthetics that’s comically outlandish and utterly fleshy. Certainly not a role one would consider the actor who comes complete with a rich British accent and an urbane quality about him to then sport a sparkling fishbowl cranium and a battleship gray half a buttocks. The remaining cast includes George Wendt (“King of the Ants”) and Shane Rimmer (“The Hunger”).
CGI was relatively in the early stages of infancy; yet “Space Truckers” had an astonishingly working blend of computer generated imagery and palpable miniature models that were supported with an integrated futuristic edifice style of production design by Simon Murton, whose speciality is high concept science fiction with illustrative art department experience that includes “Demolition Man,” “Tank Girl,” “Judge Dredd,” and “Stargate.” Murton’s style incorporated with the bright colored visuals of neon flicker marquees, illuminating body parts, and red hot poker red infrareds hues are the very antagonistic views of a cold and dark space, yet Gordon and his crew envisioned characters who sought out color, who wanted nothing to do with the darkness, and that’s what made them colorful and maybe a bit off-kilter.
Stuart Gordon’s stellar “Space Truckers” rockets to a region B, 1080p Blu-ray courtesy of UK distributor Second Sight that delivers with a widescreen presentation, 2.35:1 aspect ratio, that has out of this world image quality vividly displaying the massive color palette through a 2K restoration from the 35mm negative. Running at nearly 24 fps, Second Sight’s edition is superior in detail, cleanliness, and balance amongst the coloring and despite being able to see the special effect wires, “Space Truckers” has one of the best restorations I’ve seen lately under the black Blu-ray box laced with new artwork by graphic designer Rich Davies. The English 2.0 LPCM uncompressed stereo track, with optional subtitles, has immense range across the board. From cheesy John Canyon dialogue to the vary of space-kindred ambience, not one track felt short to being muddled or murky. Colin Towns bigrig score is big country cadence that’s emits a well-rounded six pack from the dual channel sound. The robot’s disintegrations amplify a high pitch note that can be a thorn in one’s ear, but adds to the chaotic charm when all hell breaks loose in space. Bonus features include a new interview with Stuart Gordon delving into the film’s beginnings and his recollections with the stars, and a new interview with composer Colin Towns (“Rawhead Rex”), a new interview with Art Director Simon Lamont (“Event Horizon”). “Space Truckers” is 96 minutes of mudflappin’ mayhem strapped with slender models in killer robot suits and Charles Dance’s exhibiting his tin-can half-nakedness in a bizarro world of high concept meets tongue-and-cheek performances of a film that ultimately pits the epitome of the blue collar workforce as the unsung heros of space.
Perhaps the most very definition of sensory stimulation lies with the Stuart Gordon 1986 mad science horror film From Beyond. Numerous sensors are teased from color perspectives to sexual stimulation to even the thrill of exciting the mind through science. From Beyond is not only a maddeningly weird and utterly slimy film about expanding the pineal gland to the point of losing yourself to a creature ridden other-dimensional world where you’re absorbed into chaotic, gelatinous mutated mass. No. From Beyond lets you fully and freely experience what most people consider to be taboo and frightening.
Dr. Edward Pretorius and his assistant Crawford Tillinghast construct a machine called the Resonator that will tap into the dormant pineal gland of the mind in hopes of expanding to beyond the regions of the mind. When Crawford first turns on the machine, creatures appear swimming in the air and attack Crawford. Ignoring the warnings of possible danger, the obsessed Pretorius turns on the machine and has his head twisted and decapitated by a shape-shifting monster. Crawford’s story lands him committed in an mental institution where he is greeted by Dr. Katherine McMichaels who treats Crawford and wants him to recreate his experience in order to treat what she thinks is schizophrenia. Crawford, Katherine and Bubba Brownlee, an overseeing officer to make sure Crawford behaves himself, return to the Pretorius house to reactivate the Resonator – to recreate the nightmare.
How can you not read that synopsis and not be curious to see this fun flick? Loosely based of H.P. Lovecraft’s short story of the same title and intertwined with other Lovecraftian stories. We all know that director Stuart Gordon is the true historian behind Lovecraft as he has most likely studied and then directed most of Lovecraft’s stories such as Herbert West-Re-Animator and Dagon. Yet somehow with From Beyond, Gordon and his team did something right; they infused their own ideas and their own creative style making From Beyond more memorable and highly controversial amongst the MPAA. Hell, I’m guessing this is why we can never have a home entertainment copy stay in print for more than 3 years – point in case, the MGM release! Luckily, for you and for me, UK cult and horror film loving Second Sight Films has brought back From Beyond from the DVD grave and has even enhanced the film for Blu-ray!
From Beyond really did push the limits with the MPAA; so much in fact that even using green slime over blood to lessen the effect still caused heavily edited down editions. But there are scenes of extreme uncomfortableness which I find a sense of relieve and peacefulness in. Such scenes are with Barbara Crampton in the S&M outfit and she fondles Jeffrey Combs as he lies hair less and injured in bed. If I feel awkward, dirty, or uncomfortable after a scene, I’m extremely enjoying the movie and thank you director, producers, writers, actors, and the rest of the crew in making uncomfortable scenes enjoyable for weird folks as myself. Like I always say, if a horror movie frightens you, then the movie is doing it’s job! From Beyond will surface all sorts of internal emotions and stimulations that cause the sensations to overload and explode much like the Resonator stimulating the pineal gland to the point of blissful agony.
If you want to feel like you’re on a severe acid trip, I’d suggest grabbing From Beyond from Second Sight here before the DVD goes out of print again. Remember, this is a region 2 disc and can only be played on region 2 players so beware!