Even beyond the editing that inserts pauses for commercial breaks, I don't think it's unfair to say one can usually discern television films just by the tone they adopt, customarily lighter than their theatrical brethren. Plus, male characters are more clean-shaven, women are more conservatively dressed, dialogue might rely (even) more on clever quips, storytelling may be more direct, and so on. To this add the use of flashback framing in this instance, helping to build a narrative initially intended as a pilot for a series. Of course none of these or other facets are traits exclusive to TV movies, and they are no reflection on quality - any more than are the clear influences that screenwriters Bruce A. And Roderick Taylor took from classic 'Invasion of the body snatchers' material and James Cameron's recent smash hit 'The terminator,' among other things. True, one may say that facets like special effects or production values date more easily. Yet however much one may him and haw about particulars, when you get down to it 'Annihilator' only wants to have a good time, and I don't think there's much arguing that it does just that. I think this is pretty great!
Viewers can always tell when the cast are enjoying themselves, and when they do those feelings are often readily passed on to the audience. This 1986 flick is no exception, for even as the actors embrace the combination of action, science fiction, and horror with all due sobriety, they carry themselves with an infectious energy that makes me think they were about to crack a smile at any given time. Mark Lindsay Chapman is rock solid as beleaguered protagonist Robert, but rather illustrating the point, the supporting cast threaten to upstage him. Earl Boen, fresh off 'Terminator' himself, is always a joy; no one is taking the material more seriously than Susan Blakely in her supporting part as Layla. Catherine Mary Stewart makes a fine impression as Angela - yet though I admit bias since I'm already a fan, it sure seems to me that Lisa Blount is having the time of her life as Cindy, unexpectedly given more prominence here than in some of the other roles of her all too short career.
It's not just the cast, though, as the convivial, enthusiastic spirit quite seems to extend to all others involved. Maybe it's true that the more lighthearted tenor of the production limits, to some degree, the full potential of a tale that could have been darker, more violent, more impactful, and all-around more vibrant and lastingly memorable. The genre romp remains intact nonetheless, and in every capacity we see how much the affair was a labor of love for all involved. That goes for the flavorful, enticing, invigorating original score of Sylvester Levay, and the compiled soundtrack; Frank Mazzola's excited yet sharp editing and sequencing; and Paul Goldsmith's exquisitely smart, mindful cinematography. The effects artists were having a field day, and while there are instances of post-production visuals on hand (chiefly when we see the androids' perspective, but also the lights in their eyes), far more than not we're gratifyingly treated to a wonderful practical effects, not to mention a bevy of varied stunts. The props are just as well, not to mention art direction, costume design, and on a less specific note, hair and makeup. By and large, this is very well done.
This isn't to say that 'Annihilator' is perfect. It's not just that the writing is direct, but there comes a point when we see that it is decidedly simplified, relying on Movie Magic instead of meaningfully filling in the gaps between beats and ideas. This comes across in the back end above all, where to be frank the screenplay feels sloppy and rushed. The professor isn't written well, for example, and there's no rhyme or reason to how the climax is resolved, and no explanation. I assume we would have gotten an explanation, had this pilot been picked up for a series, for elements like some androids being different from others, and behaving more like humans, or for how individuals are selected or rejected for replacement. I'm sure that would have been the case, as the last minutes are written very discretely to set up an episodic structure to a series - the continuing fight of the protagonist against invaders. Unfortunately, in this singular TV feature, we don't get those explanations, and the viewing experience is diminished as a result. Don't get me wrong, overall the narrative here is engrossing and satisfying, and the scene writing is wonderfully flavorful. There were excellent possibilities for the characters, even if they weren't brought to their full potential. I like what the Taylors penned, much more than not, and Michael Chapman's direction is just splendid, as far as I'm concerned, in bringing out all the absorbing, engaging energy that each moment could reasonably bear.
I just wish the writers were given more of a chance to really flesh out the details of the story; maybe I'm being overly generous, but I assume production was rushed to the point of forcing cuts and rewrites, reducing the integrity of the story in the process. And still, while those flaws that come across in the script are significant enough for my favor to take a hit, I can't really name any others, and I'd be plainly lying if I said I didn't have fun. The picture remains above all a chance to tell an action-driven story of sci-fi horror, stirring together aspects of what were or are now considered esteemed classics; it was primed to be a series, but even as a standalone work it's a delight, and that is reflected in nearly every regard. It bears repeating that with more judicious care the end result would have been more complete and satisfying, nevermind those richer possibilities for how the concept might have been developed. One way or another, though, with generally superb contributions from the writers, director, cast, and crew alike, 'Annihilator' is highly entertaining and well worth checking out. It doesn't wholly demand viewership, and it's best suggested for those who are fans of the folks on hand, but if you do have the opportunity to watch then it deserves a look.
Viewers can always tell when the cast are enjoying themselves, and when they do those feelings are often readily passed on to the audience. This 1986 flick is no exception, for even as the actors embrace the combination of action, science fiction, and horror with all due sobriety, they carry themselves with an infectious energy that makes me think they were about to crack a smile at any given time. Mark Lindsay Chapman is rock solid as beleaguered protagonist Robert, but rather illustrating the point, the supporting cast threaten to upstage him. Earl Boen, fresh off 'Terminator' himself, is always a joy; no one is taking the material more seriously than Susan Blakely in her supporting part as Layla. Catherine Mary Stewart makes a fine impression as Angela - yet though I admit bias since I'm already a fan, it sure seems to me that Lisa Blount is having the time of her life as Cindy, unexpectedly given more prominence here than in some of the other roles of her all too short career.
It's not just the cast, though, as the convivial, enthusiastic spirit quite seems to extend to all others involved. Maybe it's true that the more lighthearted tenor of the production limits, to some degree, the full potential of a tale that could have been darker, more violent, more impactful, and all-around more vibrant and lastingly memorable. The genre romp remains intact nonetheless, and in every capacity we see how much the affair was a labor of love for all involved. That goes for the flavorful, enticing, invigorating original score of Sylvester Levay, and the compiled soundtrack; Frank Mazzola's excited yet sharp editing and sequencing; and Paul Goldsmith's exquisitely smart, mindful cinematography. The effects artists were having a field day, and while there are instances of post-production visuals on hand (chiefly when we see the androids' perspective, but also the lights in their eyes), far more than not we're gratifyingly treated to a wonderful practical effects, not to mention a bevy of varied stunts. The props are just as well, not to mention art direction, costume design, and on a less specific note, hair and makeup. By and large, this is very well done.
This isn't to say that 'Annihilator' is perfect. It's not just that the writing is direct, but there comes a point when we see that it is decidedly simplified, relying on Movie Magic instead of meaningfully filling in the gaps between beats and ideas. This comes across in the back end above all, where to be frank the screenplay feels sloppy and rushed. The professor isn't written well, for example, and there's no rhyme or reason to how the climax is resolved, and no explanation. I assume we would have gotten an explanation, had this pilot been picked up for a series, for elements like some androids being different from others, and behaving more like humans, or for how individuals are selected or rejected for replacement. I'm sure that would have been the case, as the last minutes are written very discretely to set up an episodic structure to a series - the continuing fight of the protagonist against invaders. Unfortunately, in this singular TV feature, we don't get those explanations, and the viewing experience is diminished as a result. Don't get me wrong, overall the narrative here is engrossing and satisfying, and the scene writing is wonderfully flavorful. There were excellent possibilities for the characters, even if they weren't brought to their full potential. I like what the Taylors penned, much more than not, and Michael Chapman's direction is just splendid, as far as I'm concerned, in bringing out all the absorbing, engaging energy that each moment could reasonably bear.
I just wish the writers were given more of a chance to really flesh out the details of the story; maybe I'm being overly generous, but I assume production was rushed to the point of forcing cuts and rewrites, reducing the integrity of the story in the process. And still, while those flaws that come across in the script are significant enough for my favor to take a hit, I can't really name any others, and I'd be plainly lying if I said I didn't have fun. The picture remains above all a chance to tell an action-driven story of sci-fi horror, stirring together aspects of what were or are now considered esteemed classics; it was primed to be a series, but even as a standalone work it's a delight, and that is reflected in nearly every regard. It bears repeating that with more judicious care the end result would have been more complete and satisfying, nevermind those richer possibilities for how the concept might have been developed. One way or another, though, with generally superb contributions from the writers, director, cast, and crew alike, 'Annihilator' is highly entertaining and well worth checking out. It doesn't wholly demand viewership, and it's best suggested for those who are fans of the folks on hand, but if you do have the opportunity to watch then it deserves a look.