Welcome to Blood City

Some folks say that's there the best movie from director Peter Sasby, who worked for Hammer films in the seventies. This is an ambitious feature, no doubt, and Sasby shows here another face of his career. Many folks too could compare this with WESTWORLD, and I understand why, because myself thought about the Michael Crichton's film where Yul Brynner had more or less the Jack Palance's place; however both plots are quite different, just the overall atmosphere, scheme and settings are rather close. Good cast too. The problem is that I saw the film in an awful pan f...scan frame instead its genuine original LBX. That upsets me very much.

Jack Palance was the main reason to see this, and while he doesn't disappoint the film in general does. An interesting concept here, but not enough is done with it and the low budget really hinders it.

Palance's performance is also the best thing about the film, he is so much fun while keeping his dignity intact, he resists the temptation also to overact like he sometimes did in similar roles. In fact, the acting is the component that comes off the least badly here, Keir Dullea is decent and Samantha Eggar while deserving more to do gives the film's second best performance, being quite thoughtful and with a good deal of authority. Roy Budd provides an appropriately eerie and thrilling music score without intruding too much. There are also some charmingly offbeat parts in the script.

Welcome to Blood City however is badly let down by being so lifelessly directed by Peter Sasdy, who has shown before that he is a competent director, and the painfully obvious low budget, especially in the choppy editing, dizzying camera angles and dreadfully fuzzy picture quality. The settings are also pretty limited and never feel authentic. Apart from some offbeat moments, the script is completely devoid of tension, while the story is often very dull and the suspense is marred by the virtual reality concept being revealed far too early. There are some interesting ideas here, but nowhere near enough is done with them. The characters are very one-dimensional, and despite Dulleas' performance any empathy towards his character's plight was rarely on this viewer's mind.

All in all, a very odd film that had potential but executes it pretty badly. 4/10 Bethany Cox

You know what this film reminded me of? The Cabin in the Woods. If you've seen that, you'll know what I mean when the film totally takes you out of the 'moment' and twists things up a bit.

Keir Dullea wakes up somewhere with no memory except a card in his pocket that tells him how many people he's killed. Not that he reads it mind. His other buddies at the time do, but by the time the plot gets going most of them are dead.

He finds himself in some sort of Cowboy world where life is cheap and terrible clothes are even cheaper, but who can he trust? Probably not Jack Palance. And is this world even trustworthy anyway? It's a very early take on Virtual Reality, this one. But then it's another film where you shouldn't really reveal much of the plot, because that's where the enjoyment lies. P'ting

The untouchable Jack Palance leads a pack of virtual reality cowboys in this shameless high-concept ripoff of Yul Brynner's WESTWORLD. Several amnesiacs awaken in a dusty old west town, where they are immediately forced into slavery. Their only hope of social advancement is to murder other denizens of Blood City, gaining all-important street cred and working their way up to a face-off with the schizophrenic sheriff, valiantly played to the straight-faced hilt by Palance. The prematurely revealed would-be `twist' is that all the amnesiacs are actually in suspended animation, merely passing a computerized aptitude test in the technologically manufactured west, uh.world. And if you've rented BLOOD CITY in search of blood, there's not a drop to be seen. This constantly deflating film co-stars sci-fi veterans Keir (2001) Dullea and Barry (SPACE:1999) Morse, and was also released as WELCOME TO BLOOD CITY.

A film with aspirations higher than its abilities. The vaguely interesting central idea is played out in a muddled script, and the whole production looks schlocky and amateurish. Dullea is a bland hero, Palance his usual eccentric self, Eggar gives a good performance....but what are these actors doing in such a cut-rate film anyway??? By the way, the videocassette version is very poorly framed, and the Panavision cinematography suffers BADLY. (*1/2)