Redwing - Flucht vor dem schwarzen Droiden

I've come up with a drinking game to play while you watch Starship. Here's what you do. Get a bottle of your favorite liquor and a shot glass for everyone who wants to play along. Fill up each shot glass to start off, and then slap Starship in the VCR. The rules are that everyone takes a shot whenever something interesting happens. Suitable for teetotalers. Unused liquor can be deposited back in the bottle utilizing a funnel.

This is the absolute worst kind of movie: a boring one. I watch lots of terrible movies. In the right frame of mind, an onslaught of cheese and surprise 80s dance numbers and mullets can provide a fun evening like nothing else. Battlefield Earth, for instance (and by the same director), is wonderful because it aims for real emotional impact over and over again and achieves not an ounce of it. Starship, on the other hand, might just be aiming to put me to bed early.

Action matters when we care about its outcome. Nothing we give the least little tiny crap about is ever really in jeopardy in Starship, and the one time something terrible happens to a main character it's filmed so poorly we're left for a minute wondering precisely what happened.

This movie's a mess. But not, let me stress, a hilarious mess. It's not an interesting mess. It's not something to get drunk and make fun of. It's not a crappy, crappy, crappy movie; the situation is altogether more dire than that. It's boring.

On the remote mining planet Odessa, miners work long grueling hours to extract minerals and fossil fuels for shipment back to a resource depleted Earth. The government sends down a legion of Military Police Droids to enforce their brutal rule on the Odessa miners which is resisted by a ragtag band of young resistance fighters including Lorca (John Tarrant), Abbie (Donough Rees), Suzi (Casandra Webb), and their short statured robot Kid (Deep Roy). When they uncover a conspiracy to replace the miners with a robot workforce and kill the miners, the group sets out to stop this insidious plan being carried out by the cruel Captain Jewitt.

Following Roger Christian's troubled debut on The Sender for Paramount Pictures who recut the film without Christian's input, he decided to produce his next film independently to avoid a repeat of the experience. Christian wrote the sci-fi film 2084 (aka Starship aka Lorca and the Outlaws) alongside screenwriter Matthew Jacobs who would go on to write episodes of The Young Indiana Jones Chronicles and the failed 1996 relaunch of Doctor Who. Christian described the film as an update on the George Orwell novel 1984 but with an action adventure focus and lighter tone (how is it 1984 then?) and would go for a style inspired by films such as Death Watch and Alphaville. The film was financed by Swedish video company VTC and filmed in Australia and the United Kingdom and like many euro-genre productions was financed by foreign pre-sales (hence the different names). Contemporary reviews wrote the film off as a cheap knock-off of Star Wars and it certainly is, but unlike certain other Star Wars knock-offs of the time that kind of endeared themselves such as Battle Beyond the Stars or Starchaser: The Legend of Orin that were entertaining, 2084, Starship, or whatever other name it's known by dares to be a boring tedious slog and incomprehensible mess.

The movie's about as basic as you can get with a premise like this with oppressed working class and overzealous militarized villains who abuse said working class in a setup that dates all the way back to Fritz Lang's Metropolis as far as sci-fi is concerned (and possibly further if you're so inclined), but despite one of the simplest setups imaginable, the movie bungles it in terms of establishing any kind of world building, character, or motivation so while you may know "what" is going on, be prepared to be eluded by the "why" quite a few times including a climax that involves a rogue killer robot for no adequately explained reason. Despite one of the titles being Lorca and the Outlaws, Lorca's barely a factor in this movie for the first half as he disappears for a long stretch and not only is John Tarrant not a strong lead, but Abbie and Suzi are conspicuously underwritten with so little to them you could replace them with mannequins and no one would know the difference. But then we have the most prominent character of Kid the robot and with a whiny delivery and a voice that seems to have been run through a filter on top of an under annunciated delivery I maybe only understood half of what this character said if that. But to top it all off we have the film's lacklust production values which feature a host of darkly lit cooridors and a quarry complete with ordinary looking dumptrucks and contemporary automobiles.... THE FUTURE! Rather embarrassing for a man who was nominated for an Academy Award for his art direction on Alien and WON an Academy Award for his work as a set dresser on Star Wars.

The movie sets a precedent for Roger Christian's directorial career that would bring him to future films such as Battlefield Earth. The fact that the best regarded film Christian ever made as a director was his first film the Sender is a massive indictment of his skills especially since it was taken away from him and re-edited by Paramount. Watching this movie: it's undeniably Christian's film through and through.

Yow, I remember this movie when it came out in the 80's. There I was, with a bunch of friends, I was about 15, popcorn in hand, expecting to see a great sci-fi movie at the theater.

We were all disappointed. The plot was totally unoriginal, the b-grade acting & the special effects were a let down. The masks they used for the bots were ugly, and the ship designs were bad. 18 years later, they stick in my head like a bad, umm, movie.

The whole underground resistance idea could have worked if they put more idea and thought into the story line and had somewhat of an interesting dialogue, but there is none worth remembering. To be fair, the movie is probably better then some of the garbage that we see today that passes as sci-fi, but that's not saying much.

3 out of 10

STARSHIP is touted in the tagline as a "warp speed adventure". Instead of being anything like an adventure this film throws great visuals at the audience and absolutely no story. STARSHIP is weird and disappointing, and not worth viewing or effort it takes to thrust it in a VHS deck.

This is the third movie I have rented tonight with the word 'Star' in it. However, it isn't 'Star Wars', 'Star Trek', 'The Last STARfighter', or even 'Star Kid.' This movie was made 'down under' and we can expect no less from foreign movies. Like 'Star Crash' before it and 'Star Knight', we have a movie that wants to be so many things we Americans made but simply could not do. And, like everything else, it comes out so dirty it should be condemned in the laundry pile to be burned completely. I'm sorry, folks, this sucked hard.

The back of the box mentioned and stole a few words from the Star Wars common terminology and compared itself to the likes of Blade Runner, which wouldn't make a whole lot of sense. The 'droids' here are simply people with jumpsuits, aluminum guns and creepy Chinese/Buddhist masks - and more often than not, these are midgets. With someone whose name is 'Deep Roy', which is really downright hilarious (especially the name typo - Kid? Grid? Fail.), this is pretty bad. The 'storm troopers' are all poorly designs animatronics which look like something a child did for a science project out of whatever was in a junkyard.

The music goes on to copy, blatantly, the same motifs as Last Starfighter - and blatantly rips most of Luke's battles in Tattooine from the first movie. The villain even looks like Darth Vader! Gah, originality must be pretty hard to find, is it? Jesus Christ on a stick.

None of the movies I have seen so far are recommended. It's a proved fact you'll ignore most of them for private time on the computer or with a loved one rather than pay attention.