The New Gladiators (1984) Lucio Fulci
The New Gladiators (1984)
aka I guerrieri dell'anno 2072
aka Warriors of the Year 2072
Genre: Postnuke
Country: Italy | Director: Lucio Fulci
Language: English | Subtitles: None
Aspect ratio: Widescreen 1.85:1 | Length: 90mn
Dvdrip H264 Mkv - 768x424 - 25fps - 862mb
http://www.imdb.com/title/tt0085627/
Includes Audio Commentary
by the Fulci Benevolence Institution
(second audio track)
Dvdrip H264 Mkv - 768x424 - 25fps - 862mb
http://www.imdb.com/title/tt0085627/
Includes Audio Commentary
by the Fulci Benevolence Institution
(second audio track)
Framed for the murder of three guys who killed his wife by an
all-powerful megalomaniacal master computer, nice guy reigning
"bloodbike" champion Drake (the ruggedly appealing Jared Martin) is
forced to engage in a ferocious only one winner allowed mass televised
old Rome-style gladiatorial combat game called "The Battle of the
Damned" that offers just the right amount of nasty and copious
real-life bloodshed the jaded future TV audiences need in order to get
their violence fix. Whipped into fierce fighting shape by sadistic
trainer Raven (a robustly evil Howard Ross) and befriended by token
compassionate chick Sarah (the lovely Eleanor Gold), Drake has to mix
it up in lethal combat on elaborately made-up motorcycles with a savage
bunch of barbarians who include Al Cliver as a scruffy ape, Hiruiko
(Al) Yamanouchi as a feral mohawked chopsocky demon, and almighty
blaxploitation bad-ass Fred "the Hammer" Williamson as a cool,
composed, cocky and swaggering smooth dude.
A most uncharacteristic self-criticizing sci-fi/action picture departure by famed Italian horror movie specialist Lucio Fulci, this suitably violent and gory outing offers a barbed, cynical, corrosive commentary on the bloodthirsty gorehound viewers who enjoy watching Fulci's gruesome fright features by showing a bleakly amoral futuristic society where warring TV stations try to score high ratings by broadcasting excessively brutal and barbaric fare like "The Danger Game," a particularly gross simulated atrocity offering which crassly caters to the lowest common denominator by going heavy on the mondo fake bloodspilling.
Fulci co-wrote the acrid, biting script with frequent screenwriter Dardano ("Zombie," "The Beyond") Sachetti, Cesare Frugoni and Elisa Briganti. Riz ("Don't Torture A Duckling," "Cannibal Holocaust") Ortolani supplies a booming, wildly wailing, hard-grooving Goblinesque score. Joseph Pinori's gaudy, luminescent, loud bright color-saturated cinematography gives the film a garishly ornate, glittering, dazzling look that's in equal parts florescent Christmas tree lights glow and blinding pinball machine arcade high-gloss sheen. Fulci stages the killbike sequences with wired, heart-racing gusto, with guys astride motorcycles slicing'n'dicing each other with swords, lances, spiked clubs and hammers. Unique in its genre due to its pointed, self-recriminating exploration of using violence as a cheap titillating device and an obvious precursor to "The Running Man," this funky item makes for a refreshingly unusual and oddly thought-provoking addition to the sci-fi/action genre.
A most uncharacteristic self-criticizing sci-fi/action picture departure by famed Italian horror movie specialist Lucio Fulci, this suitably violent and gory outing offers a barbed, cynical, corrosive commentary on the bloodthirsty gorehound viewers who enjoy watching Fulci's gruesome fright features by showing a bleakly amoral futuristic society where warring TV stations try to score high ratings by broadcasting excessively brutal and barbaric fare like "The Danger Game," a particularly gross simulated atrocity offering which crassly caters to the lowest common denominator by going heavy on the mondo fake bloodspilling.
Fulci co-wrote the acrid, biting script with frequent screenwriter Dardano ("Zombie," "The Beyond") Sachetti, Cesare Frugoni and Elisa Briganti. Riz ("Don't Torture A Duckling," "Cannibal Holocaust") Ortolani supplies a booming, wildly wailing, hard-grooving Goblinesque score. Joseph Pinori's gaudy, luminescent, loud bright color-saturated cinematography gives the film a garishly ornate, glittering, dazzling look that's in equal parts florescent Christmas tree lights glow and blinding pinball machine arcade high-gloss sheen. Fulci stages the killbike sequences with wired, heart-racing gusto, with guys astride motorcycles slicing'n'dicing each other with swords, lances, spiked clubs and hammers. Unique in its genre due to its pointed, self-recriminating exploration of using violence as a cheap titillating device and an obvious precursor to "The Running Man," this funky item makes for a refreshingly unusual and oddly thought-provoking addition to the sci-fi/action genre.
The New Gladiators (1984)
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