O Androide Assassino

Ex-government agent, Henry Stanton (Robert Conrad) is brought out of retirement to track down a rogue agent named Golem (Richard Young). Golem is on a murderous rampage, killing with his bare hands and collecting secret data.

Stanton soon discovers that he's not up against a mere man.

Sort of a made-for-TV version of THE TERMINATOR, Conrad is really good in his intrepid role. Young's Golem is fantastic in all of his / its bulletproof, fireproof, virtually-unstoppable glory!

Highly entertaining...

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 lame TV movie version of Terminator - sorta. We have a robot that looks human that goes around killing people he's programmed to kill. And it's a very boring film. Mainly a bunch of talk with some action scenes thrown in for some so called excitement.

I have no clue as to the type of film they used to film this movie with but it looks dark and dirty, just dingy looking. A drab film quality to go with a drab story - I guess it works well together.

This is not a film that Terminator fans should seek out - it's not nearly as exciting nor is it a quality film like Terminator. Instead it's just a lame, boring made for TV movie. If you miss this one, you aren't missing anything at all but some ugly 1980s hairstyles and clothing.

1/10

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.

Robert Conrad is called out of retirement by screenwriters who saw at least the opening ten minutes of "Firefox" to stop a man-made killing machine named Robert Golem and played by character actor Richard Young. He's good. Aiding Conrad in his mission are a fetching lady cybernetics expert who helped devise Mr. Golem and several gleefully corrupt CIA agents who excel in not comprehending Golem's one purpose to exist, which is to kill people. Referring to the film as a "Made for TV Terminator" is about right, with the premise of a scientist who programs a hit-list of everyone he can't stand prior to offing himself not outside the realm of possibility even if the robot currently is.

He's some robot too, the tall dark handsome type, which makes sense. Why craft an ugly android who can't function socially? and if you ask me he is the most interesting character in the movie. Standout scenes include a one-night stand with a Linda Hamilton lookalike, leaping from various buildings to land on his feet, straighten his tie and amble off into the night, and a bizarre scene where he hacks an ATM with a greasy haired street punk looking on. He gives the kid a mocking raised eyebrow before sauntering away with his cash, demonstrating that he was also programmed to have at least a vestigial sense of humor. I'd hit the bars with him.

Others may disagree but I find the movie to be an engaging passable timekiller, with some decent action scenes, a healthy body count and an interesting perspective on how unelected government officials often regard the elected ones as obstacles to their wishes to govern the way they'd prefer. Gives one reason to pause in the Pandemic Age about whose line to believe, with scientists or physicians serving as pawns for those who are determined to play by their own rules. Conrad makes a decent lead, even getting the Girl in the end, with the robot's inevitable demise a marvelous laugh-out-loud moment for those who wonder how such things might take place. Easily found on YouTube or any number of bargain-bin DVD movie collections, which is where it likely belongs.