I guerrieri dell'anno 2072

This film, a precursor to The Running Man, depicts a futuristic game show in which contestants are stalked and killed. Bad special effects and dubbing throughout. Only for Lucio Fulci completists, this is even lacking in the gratuitous gore and nudity that usually characterizes Fulci's work.

I bet the almighty Lucio Fulci didn't half realize back in 1984 how progressive and visionary the concept of his film would become. Sure the idea of recruiting death row prisoners as futuristic gladiators and broadcast their battle to live and death live on television is still extremely grotesque but the underlying and less obvious themes of "The New Gladiators" – like the appalling formula of reality-TV and the always-increasing quest for sensationalism – were way ahead of their time. This film is one of the numerous futuristic exploitation ventures that were released in the early 80's, all of them with the intention of cashing in on the huge success of John Carpenter's "Escape from New York". All these movies are incredibly violent, feature grim sets and flamboyant effect and – oh yeah – for some reason they practically all star Fred Williamson! I think Fred actually lived in between the decors and on the sets of low-budget Italian flicks back then. Anyway, Fulci naturally had to participate in this profitable Sci-Fi action trend and it shouldn't come as too much of a surprise that his effort is one of the coolest and most sadistically violent of the entire bunch. In their search for the ultimate crowd-pleasing TV-show, slick studio bosses come up with the brilliant idea of reviving the ancient Roman spectacle of Gladiator fights. Death row prisoners from all over the world are recruited to fight in the arena to the death and, just because every show does better with a celebrity on board, the vicious TV-stations owners frame a popular stunt bike rider with murder, just so that he can be put in the battle as well. But with Drake as their leader and the help of a cute and caring computer expert, the Gladiators fight back! Awesome, undemanding and adrenalin-rushing entertainment from Maestro Fulci, "The New Gladiators" offers a spitfire of explosions, macho-showdowns, squeaking bike tires, decapitations, laser beams and revealing manly skirt-outfits! Riz Ortolani delivers one of the best scores of his career (perhaps even second only to his work for "Cannibal Holocaust") and Fred Williamson remains the male role model for utter coolness, despite the fact he plays his supportive role on automatic pilot.

Totally unconvincing as an actual view at the future, New Gladiators (aka: "Rome 2072: The New Gladiators" or "Fighting Centurions") is none the less an extremely entertaining Sci-Fi action programmer from Lucio Fulci. At times gory, action packed (full of exploding-for-no-reason vehicles), cheese-tastic dialogue ("Go to Hell!", "I would - if I thought it would increase my ratings!") and delicious scenery reused from other Italian sci-fi films, giving the film the feel of an episode of Doctor Who circa 1983 as directed by slow-minded aliens.

Jared Martin, of the 1980s War of the Worlds series and Fulci's own AENIGMA, is our hero - the star Killbike champion. It's hard to tell if he is the star of the TV show Killbike BEFORE he's framed for murdering the Clockwork Orange-esque gang who murdered his wife, or if that is a flashback (as indicated by the commentary from Fulci-fan Troma staff) and that's how he became a Killbike star. I think it's the former, though. He finds himself in a prison cell (a one room riff on Stuart Gordon's FORTRESS which had yet to be made) with Fred "The Hammer" Williamson (From Dusk Till Dawn, Black Caesar, New Barbarians etc), Hal Yamagouchi (from "Life Aquatic with Steve Zissou") and Al Cliver (dubbed again by the guy who did Zombie for him), among others. They are trained in hilarious strobe-lit scene with mentally-projected holograms to become more effective killers (this has very little to do with the game show they ultimately compete in), there's a love story, in-fighting, a sadistic guard...You get the picture.

No, words cannot describe the joys of the picture - small model sets, actually entertaining sci-fi ideas (almost universally executed beneath their value) and Riz Ortolani (orchestral composer and film composer for "Cannibal Holocaust" and Fulci's "Don't Torture a Duckling" and "Perversion Story/One On Top of the Other") contributes a scruzzy New Wave rock score which is a total, rip-roaring triumphant cheesefest. Sure, there's only three pieces of music and they loop constantly, but by the end you'll be so happy it won't matter!

The DVD is a fairly typical early 21st century Troma disc - fullscreen video master, stereo, minimal extras. A commentary from the "FBI" (Fulci Benevolant Institution) is just Trent "Killjoy, Dead Girl and Terror Firmer" Haaga and Troma's then-DVD producer Ronni Raygun riffing on the movie. It's unclear whether only some of the affection for the film is sarcastic, or all of it, but it's entertaining enough. There's a short interview with the beautiful Antonella Fulci (not as good as on the "Zombie" blu-ray or Arrow "Gates of Hell" Daughter of Darkness interviews) apparently filmed by herself or a friend (note the Divine "Love Reaction" vinyl prominantly displayed...did she think John Waters owned Troma?), a Dario Argento interview (not a lot involved here, but mention is made of Fulci and how he didn't play a part influencing Dario, at all), a short Robert Englund interview about...Dario Argento, and the usual introduction and trailer. There's also some Troma extras with nothing to do with the film.

Considering it's a full screen video master, and the film is clearly missing some information (yes I would prefer a 1.85:1 transfer but fortunately New Gladiators was not a cinemascope production, so we're not missing too much), the transfer is pretty good. Once you get used to the idea that in this dystopian future, a particular shade of dark green has replaced the colour black, you'll notice it upscales just fine.

Overall, it's the best version of the movie out there I'm aware of (apparently the US Media release cuts out some of the violence) and it's pretty cheap, so pick it up.

During his career , Fulci contributed to many different genres. It is a bid sad that he is remembered only for his gore movies, though they are classics.

But Fulci making a sci-fi movie still sounded like a disaster, especially given the low budgets with which Fulci worked during the period when he made "New gladiators". Nevertheless, I was quite pleased with the result. Clearly, one cannot call the movie a good movie. For this, it is far too uneven: It has a fairly good opening, but step by step degrades into plain silliness culminating into Drake swallowing a device which allows him to manipulate all electronic equipment and even melt metal walls. At the end, the movie resumes pace again for a rather satisfying ending.

As often noted, even by Fulci's daughter Antonella, the "New gladiators" is highly reminiscent of "Rollerball" and of other classic American sci-fi-movies such as "Logan's run". Fulci manages to use some of his trademark elements to enhance the familiar motives: First, there is the overall dark atmosphere of the movie. Second, there are some almost surreal sequences such as the killing of Drake's wife. Third, there is the juxtapposition of antique and future Rome. At this point, I would like to mention that the often criticized toy models are filmed quite effectively and help to create an illusion, though not a perfect one. Fulci and the scriptwriters get an extra credit for managing to incorporate a throat slashing with Poe's pendulum into this movie!

All in all, "New Gladiators" is a slightly messed up movie with interesting details to keep you amused. As such, it is much more entertaining than recent Hollywood big budget sci-fis which feature even less story and more silly plot elements than the worst Fulci movie and are completely brainless.

There's some decent ideas in Lucio Fulci's contribution to the Italian post-nuke sci-fi action sweepstakes of the early '80s, but they're rendered somewhat inert thanks to the wooden acting of the Americans, and the horrid dubbing of the Italians. The Lego-Land-with-Xmas-Lights miniatures don't help, either.

And is it me, or did Fred Williamson just disappear from the final scene? He just vanishes. Where did he go? Was he called for reshoots for "1990: The Bronx Warriors?" Was there a summons to loop his dialogue for "Warriors of the Wasteland?" Did he need to attend a Kansas City Chiefs benefit dinner? Who knows?