Assassin

Making TV-movies in the 1980s wasn't all that difficult, in fact. The only thing you needed was enough guts to shamefully rip off an R-rated blockbuster and re-enact it straight-faced, as if you invented everything yourself! It's what writer/director Sandor Stern did, at least, and it worked surprisingly well. "Assassin" is a blatant copy of James Cameron's "The Terminator", although obviously a lot milder in terms of violence and less disturbing when it comes to atmosphere. For example, the cyborg here is also a gentle lover and he (or "it") allows for the innocent Sarah Connors to escape.

Former secret agent Henry Stanton is called out of retirement to stop and destroy a hi-tech but loose cyborg, programmed to kill off a bunch of prominent people that were on the hate list of its deceased creator. The mean machine, wittily named after the folklore creature Golem, is as strong and indestructible as T-800, but he dresses fancily and interrupts his mission to bunk up with a woman who's a dead ringer for Linda Hamilton. Nice! Oh, he must also recharge his batteries after 72 hours of action and adventure, so he's basically the prototype of Elon Musk's Tesla EV-model.

The first hour of "Assassin" is quite enjoyable, thanks to a couple of neat stunts and reasonably suspenseful moments. It is cool how we, together with the amazed and reluctant agent Stanton, discover just how superior and sophisticated the cyborg is. The plot loses its energy and wit, rather ironically, after Golem finishes his battery charging session in the hotel room. After that, the film turns into a mundane and derivative cat-and-mouse thriller, with cliched revelations and a standard finale.

Worth mentioning: the rather unknown and unsung writer/director Sandor Stern did return greatly once, two years after this, with the unique 80s horror gem "Pin".

This science-fiction film stars Robert Conrad as Henry Stanton, a retired C.I.A. operative who is persuaded by his former supervisor (Robert Webber) to accept another mission, one in which it is hoped that he may be able to address a problem of a rogue agent, Robert Golem (Richard Young), who is homicidal, with his victims being Agency and high government officials. Stanton is accompanied in his efforts to locate the vicious renegade by another former Agency employee, now one of Golem's targets, Mary Cassales (Karen Austin) who reveals to her new partner that the killer as an almost indestructible robot, designed for assassination purposes, and that she was instrumental in its production. The script, by director Sandor Stern, contains some interesting material, and neatly explains Asimov's three laws of robotics, but elements of romantic love between the two protagonists and between Golem and a smitten woman (Jessica Nelson) seem extraneous, and a point of view is difficult to find throughout. Conrad is most effective during the film's first half, when he is able to use his deceptively simple naturalistic skills, and Austin always contributes a developed interpretation, with only a lack of any sensual chemistry between Conrad and her serving to somewhat hamper the narrative's rhythm. Stern directs well and the work never becomes dull; however, his scenario is rather serried with story lines and he loses his way as the picture moves along, inevitably giving most emphasis to a series of frenetic action scenes, most of which demonstrate the android's superhuman physical talents. Although obviously derivative, the score by Anthony Guefen is effective, and particularly so in connection with scenes meant to generate feelings of suspense, while Chuck Arnold handles the cinematography nicely and there is crisp editing as always by James Calloway.

Story: 1.25/2 - Direction & Pace: 1.25 & 1.25/4 - Performance: 1.25/2 - Entertainment: 1.25/2

Total - 6.25/10

"Assassin," a precious relic from the golden age of TV movies, brings forth a heady concoction of spy intrigue and sci-fi zing, akin to the diplomatic clash of two distinct genres at a quirky drive-in cinema. Picture yourself in the mid-eighties: A lovely time when lustrous hair was big, and TV effects were typically somewhat more modest.

Our fantastic tale unfurls in a world where assassins, red tape, and cyborgs collide in a whirlwind of procedural pandemonium. A shadowy figure, not your average assassin, roams the agency's halls and government chambers, wreaking havoc like a bull in a china shop, albeit a cybernetic one. The crème de la crème of retired operatives is recalled to action, much like a reunion of veteran heroes pulled back for one last tango in the espionage dance. But hold your horses; this cyborg isn't one to be pigeonholed by mere programming.

The ingenious plot, a labyrinthine maze of deft twists and violent turns, carefully unfolds like a skilled magician's reveal, teasing revelations one breadcrumb at a time. Moreover, it's like a favourite old card trick; you admire the sleight of hand, even if you've witnessed it before. However, the beauty lies in the execution, mirroring the precision of the cyborg's window-jumping antics - sharp, effective, and depositing you on the edge of your seat.

Directorial finesse elevates this TV movie beyond its small-screen limitations, graciously offering a unique spectacle that bellows "big budget" with every well-choreographed leap. Sure, the effects might typically draw a chuckle from modern audiences accustomed to CGI wonders, but remember, this was the classic era of VHS and neon leg warmers.

The ensemble cast shines a constellation of talent without a solitary star outshining the rest. This humility serves the story well, focusing on the riveting narrative where intrigue reigns supreme.

"Assassin" is the perfect Sunday night caper or a rainy afternoon escapade, a rare blend of creative intellect and chuckles wrapped in a cyborg's enigmatic cloak. While its ending might not raise eyebrows, its journey is a rollercoaster of realism and astute wit. Take a seat, prepare for an '80s throwback and embrace this thrilling ride - an overlooked gem well worth unearthing from the annals of television lore.

A veteran FBI agent (Robert Conrad) is recalled from retirement to eliminate a rampaging killer cyborg (Richard Young) that has gone murderously rogue. This fun TV Sci-actioner remains more than watchable fare, enhanced by a fine cast of familiar genre faces, and I've always got room for one more Man Vs Cybermaniac B-thriller! Assassin certainly isn't a neglected cult classic, but it is competently made, with decent action, and I've always admired the quality character work of gifted Thespians Len Birman and Jonathan Banks! Perhaps, those weaned on a high fiber optic diet of Six Million Dollar Man, and Reb Brown's roustabout Captain America might get more of a cybernetically enhanced kick out of Sandor Stern's 'Assassin' than others.

Dou you already heard that old story of an US's agency calls back those former collaborators when some situation running out of control??, How about Schwarzenegger's COMMANDO or even Lambert's FORTRESS 2: RE-ENTRY also RAMBO III just name a few, it's happened with Robert Conrad to be back with full power to stop a hitman that going mad after many killings, they just don't aware him that in fact he is dealing with a powerful Cyborg, what a double-crossing.

I thought that he'd returned just by the gorgeous Scientist Karen Austin working as supporting high tech computer, the top-secret Cyborg's developing was under oversight of Robert Webber, now they ought stop the hybrid-human when he has to be recharging his plutonium batteries for a thirty minutes only, meanwhile it is impossible to break, (why they figure out a dynamite for instance or a bazooka, certainly not it will destroy the whole concept). Well it should be asking too much.

Thanks for reading.

Resume:

First watch: 1987 / How many: 2 / Source: TV-Youtube / Rating: 5.