Zone sinistrée

Well, what can I say? I have seen a lot of low budget, poorly produced sci-fi and horror flicks, and I *usually* can find something of value in them, but this movie from 1988 is by far one of the worst. Crime Zone makes Albert Pyun's Cyborg look like a masterpiece. Let's see....where to start.....the lighting, props, costumes and effects are REALLY poor. I mean, people aren't stupid, it's obviously a bb gun Helen carries around through the last half of the film. I think I saw the same gun at Wal*mart last week. I don't even want to discuss the plot let alone the acting. I don't know how David Carradine got mixed up in this film, because the other actors are quite lame. I guess Sherilyn Fenn is OK, but Peter Nelson and Michael Shaner are REALLY lame, I think even I could act better. Lets not forget about the score. My god, it sounds like it was made with a Toys 'R' Us kids Casio keyboard. I gave the movie a 3/10 because some company actually had the balls to release this p.o.s.. Now I know why it hasn't been released on DVD yet. Maybe Criterion should put out a special collector's edition of it! Haha. I think I even liked Troll 2 better, and that is really freakin sad....

i feel this movie can be appreciated by fans of the bmovie scifi genre. it takes a bit of patience to watch it, i've seen it about two times. the second time was better. i zoned out and watched it, my friend did not like it and fell asleep. meanwhile i enjoyed this visual feast. its based in your post apoc city underground. the main character is kicked out of his police job. back to his seedy apartment. ironically he claims he'll be going back to nothing. although he still has his place and seems to be getting by. he wants to get out of the city, a sort of ghetto with bleak implications. an amazing line is delivered by a fascist city guard, who bursts into his apt, because they saw him with a known prostitute outside of the legal zone the other day... "is that the normal size of your ----" referring to his privates the society is exploitave and interrogative. i really appreciate the sound track and back alley progression of the film. i like the gritty nature of the film. technically this is not a pleasing film and will not enthrall techno junkies. use of the imagination is required. i feel this adds well to post-apoc completist essences.

I recently watched Crime Zone (1988) on Tubi. The story takes place in an apocalyptic future where crime has been eradicated and society is ruled by a dictatorship. When someone attempts to steal top-secret information, they cross paths with a rebellious Bonnie & Clyde-style couple who are more than ready to stir up chaos-and become the perfect distraction. Together, they launch a coordinated crime spree.

Directed by Luis Llosa (Anaconda), the film stars David Carradine (Death Race 2000), Sherilyn Fenn (Wild at Heart), Don Manor, and Peter Nelson (Die Hard 2).

This is one of those movies with cheap sets, props, and costumes-but somehow it still manages to pull you into its universe. It has a "poor man's Cherry 2000" vibe in many ways. While the plot includes a few twists and turns, they don't land as effectively as intended. The shootouts are average, and the ending is as cliché as they come. The women are striking, but the acting across the board is mediocre at best.

In conclusion, Crime Zone is a below-average post-apocalyptic film that's ultimately not worth your time. I'd score it a 4/10 and recommend skipping it.

"Crime Zone" takes place in a police state of the future, known as "Soleil" (the French word for sun). Low-tier citizens "Bone" (Peter Nelson, "The Last Starfighter"), who's just lost his job, and Helen (ever-ravishing Sherilyn Fenn of 'Twin Peaks' fame), are a couple yearning for escape, hoping to make it to a promised land called "Frodan". Then an authority figure named Jason (David Carradine, "Kill Bill") makes a proposal to them to commit various crimes, all of them done for an unexpected reason.

A hair better than most low-budget movies about Dystopian futures, "Crime Zone" manages to be, at the least, fairly interesting, and well visualized. (The name "Soleil" is amusingly ironic since most scenes there are shot at night.). The acting is variable, but Nelson is earnest enough, and Carradine does do more here than just phone it in. (He also takes an associate producer credit.). Fenn is the standout in that regard; Michael Shaner ("Lethal Weapon") overdoes it as Bones' former friend, a lifelong lowest-tier individual and self-proclaimed "****up." The action scenes are capably handled, the violence plentiful without being overly gory, and the soundtrack (composed by Rick Conrad) is pretty catchy.

Filmed on location in Peru, the homeland of producer / director Luis Llosa, who went on to do Hollywood movies such as "Sniper", "The Specialist", and "Anaconda".

Seven out of 10.

An agreeably stark and rough post-apocalyptic little Sci-fi b-grade film by Roger Corman's Concorde productions, which depicts a neon-glazed future where citizens are put into categories as they carry out daily routines, are run by strict rules (like state-sanctioned sexual activities), cameras watch their every move, the rich extend their existence in the Garden of hibernation and they're governed by a power-hungry state where a mighty police force keeps order. This follows two young love-birds going against the trend, by taking up an offer by a stranger to steal some important computer chip where in doing be free of the strangling reign of the dead-end zone. But things don't go to plan, where they are caught up in a web of murder, mystery and intrigue. So now they are on the run. This is what you can call an grimly futuristic twist to Bonnie and Clyde in a post-world war three society. Quite formulaic, but it does offer up an ambitious surprise or two with its sharply written, if elaborate screenplay. Director Luis Llosa remarkably keeps a fast tempo, delivering impulsively edgy action sequences, efficiently workable special effects and getting atmospheric vigour out of the smoky low-rent sets. They do look dingy, but it brings an authenticity about its war-torn decay. An arrestingly foreboding synthesizer score only adds to the steamy humidity. The performances are quite impressive. Peter Nelson is ably good with a very delectable Sherilyn Fenn as the young on-the-run couple Bone and Helen who are dreaming of a better life and to get that the rules are to be broken. Because they wouldn't kiss ass. The collectedly smooth David Carradine (who also was one of the associate producers) goes about his business in a very cunning manner. Then there's durable support by Michael Shaner and Orlando Sacha. By-the-way kick-ass cover artwork too.

"No way. We're going out in style."