|
|
|
|
No Flesh Shall Be Spared…
In a post-apocalyptic future a nomadic scavenger scours the windswept desert wastelands, in
search of resalable scrap materials. Protruding from the sands, amongst the remnants of a
battle, he unearths the metallic skull of a droid.
Making his way from the desert wilderness into the overcrowded urban decay of the pollution
riddled city, the mysterious stranger aims to sell his discovery to a scrap metal dealer. These
cyborg remains make their way into the hands of Moses Baxter (Dylan McDermott), a soldier-
of-fortune, who decides they will be a perfect gift for his artistically talented girlfriend, Jill
(Stacey Travis).
Unbeknownst to the couple, the remains are not that of a simple service droid as they had
first believed, but in-fact those of a “M.A.R.K. 13” prototype - a somewhat dysfunctional
military droid, which has the ability to self-repair and recharge; leaving Jill trapped in the
apartment with a killing machine…
|
| |
|
|
Let’s put this into perspective; Hardware is a film that has been tied up in legal wrangles for
years. The only version that had been available in recent times was a terrible full screen
release version from Germany’s Laser Paradise, which simply did the film no justice
whatsoever.
Severin’s 50GB dual layer release is presented in a 1080 progressive HD anamorphic
widescreen. Compared to what had previously been available, this looks simply stunning with
crisp detail, strong colour balance and accurate flesh tones throughout. The film shows a
healthy amount of natural grain and the digital noise reduction used doesn’t effect the crisp
detail of the film. There is only the most minor amount of print damage early on in the film,
but this is barely noticeable. Frankly the film has never looked better.
Now the consumer choice you have to make here is between this release and the UK
Optimum Releasing edition, which typically appeared just before the Severin release and is
of equal quality, although slightly different in the extras department, which I will come onto
shortly.
|
| |
|
|
This Severin release has two audio options, a Dolby Digital 5.1 English and a Dolby Digital
Stereo English. Both audio tracks are crisp, balanced and dialog is clear throughout.
The UK Optimum release has a PCM 2.0 track.
|
| |
|
|
Severin have given this release some top-notch extras, which are as follows:
• Audio commentary by director Richard Stanley, moderated by Norman Hill
• Incidents In An Expanding Universe short by Richard Stanley (HD - 44:30)
• Rites Of Passage short by Richard Stanley (HD - 9:50)
• The Sea Of Perdition short by Richard Stanley (HD - 8:33)
• No Flesh Shall Be Spared documentary (HD - 53:59)
• Deleted and extended scenes (HD - 25:02)
• Richard Stanley on Hardware 2 featurette (7:40)
• Vintage Hardware Promo Video featurette (3:31)
• German theatrical trailer
In comparison the Optimum Releasing UK edition offers the following:
• Audio commentary by director Richard Stanley and producer Paul Trijbits
• Incidents In An Expanding Universe short by Richard Stanley (44min)
• Rites Of Passage short by Richard Stanley (10min)
• The Sea Of Perdition short by Richard Stanley (9min)
• Voices Of The Moon documentary by Richard Stanley (30min)
• Deleted and extended scenes
• Behind the Scenes clips featurette
• Theatrical trailer
• Art cards and reproduction of SHOK! 2000AD Comic
As you can see, while there are some common extras between the releases, there are also
some exclusives on both. I personally found the differing commentary tracks to be of equal
merit and if you already own the US release of Stanley's Dust Devil, you will of course
already have the Voices of the Moon documentary. The differing trailers are negligible, as
are the behind the scenes / promo video featurettes.
So, what you really are weighing up here is Severin’s fantastic No Flesh Shall Be Spared
documentary, which gives some great insight into the making of the film, against the rather
nifty packaging from Optimum with Artcards, a replica of 2000AD’s SHOK! (which the film
was partly influenced by) and some informative liner notes from Kim Newman.
Personally I’m smug and own both, but if I was pushed to own just one copy I would probably
opt for the Severin release for the great documentary.
|
| |
|
|
| |
|
|
Let’s get the obvious out of the way here; on the surface Hardware could be seen to be
derivative of numerous dystopian sci-fi films from the 10 years or so that proceeded its
release - Bladerunner, Terminator, Mad Max and Alien being the most obvious.
In the hands of a lesser director, the minimal plotline indeed would probably result in nothing
more than a tired retread, but thankfully Richard Stanley is one of those few gifted directors
whose own voice and vision shine through to make Hardware something a little more special
than the average low-budget Sci-fi effort that was appearing at the time.
Part of this is down to his influences; while the plotline may contain elements akin to those
in the aforementioned landmarks - such as dystopian high-rise buildings with computerised
security systems, surrounded by smog and filth, visually and stylistically Hardware is a very
different film, with Stanley wearing his Italian cinema influences of his sleeve. The early
desert scenes are reminiscent of a Sergio Leone western, while later scenes in Jill’s
apartment use a colour pallet and cinematography straight from the Bava and Argento school
of cinema.
Co-produced by the UK’s Palace Pictures and the US’s Miramax Films (still an independent
studio at that stage), Hardware was a major success for both companies, going on to gross
£6,000,000. Although with a part British, part American cast and funding, and a South
African director, British genre film fans nearly always love to claim Hardware as our own.
Frankly by the end of the 1980’s / early 1990’s the UK’s Horror and Sci-fi output was so
minimal and frequently lacklustre, that our film industry would kill to claim any half
successful film as their own.
There’s so much that can be said about Hardware, but dissecting and analysing the film
in-depth in a review is likely to create too many spoilers and ruin the enjoyment of those
who haven’t already had the pleasure of seeing it.
Needless to say, it is Hardware that made Richard Stanley a cult favourite on video in the
early 1990’s. The 24 year old director, who had previously only directed independent short
features, documentaries and music videos, was given an inexperienced crew and a £800,000
budget to pull off the impossible in what is commonly an effects laden genre. James
Cameron and Ridley Scott probably spend more on their crews’ morning coffee than
Hardware’s meagre budget, yet it has a look and feel that rises it far above this and its
crew’s relative inexperience.
From a cast perspective, it is really Stacey Travis who really makes the film, as the strong
and resilient Jill. Dylan McDermott as Moses and John Lynch as his friend Shades put in good
supporting roles, with William Hootkins putting a great appearance as a sleazy peeping Tom
neighbour.
Stanley’s cyberpunk effort is also rather musically influenced; alongside Carl McCoy of Fields
of the Nephilim appearing as the nomad scavenger, there’s cameos from Motorhead’s
Lemmy as a cabdriver, Iggy Pop as radio DJ Angry Bob and a Gwar music video being shown
in the background while Ministry play on the soundtrack.
All in all Hardware is a great film that comes from a time when the vast majority of genre
cinema was of little or no merit and it’s great to see an official release after so long sitting
in the legal entanglement wasteland. I’d personally put this down on my top 10 releases of
the year for 2009 and would urge those who haven’t done so already, to pick up a copy
immediately.
|
|
