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USA 1982
produced by
Mary Ann Fisher, Rupert Harvey (executive), Barry Opper (executive), Roger Corman (executive) for New World
directed by Aaron Lipstadt
starring Klaus Kinski, Don Keith Opper, Brie Howard, Norbert Weisser, Crofton Hardester, Kendra Kirchner
written by James Reigle, Don Keith Opper, music by Don Preston, special makeup effects by John Carl Buechler

review by
Mike Haberfelner

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Androids are outlawed on earth after they turned violent in the notorious Munich incident and turned against their masters, the humans. Even the research on androids has been outlawed - but big companies have built small space stations in outer space beyond the reach of earth authorities to continue work on androids as if nothing has happened. Doctor Daniel (Klaus Kinski) runs one such station, where he works on building Cassandra (Kendra Kirchner), the perfect female robot, to replace his male android Max (Don Keith Opper), and to serve him as a woman (= sex doll).

Max seems like a tragic figure, a robot who desperately wants to become a human and go to earth, even if he knows he can't, but who dreams about earth people and especially women (he's never seen one) every minute he can spare. This though makes him dangerous for Doctor Daniel, because just like the Munich androids, he begins to develop a free will and he starts to disobey his master's commands.

Then three criminals on the run arrive, Keller (Norbert Weisser), Mendes (Crofton Hardester) and Maggie (Brie Howard), arrive on the station, and even though he should know better, or at least inform Doctor Daniel, Max just lets them in to offer them abode, and he's totally charmed by Maggie of course. Eventually, he even blasts a police shuttle after the three out of the spoace-time continuum just to save them, well, to save Maggie.

When Doctor Daniel learns about his unannounced guests, he immediately wants to throw them off the station - until he meets Maggie, and he is just as charmed as Max was, but for other reasons. He needs Maggie, or rather her sexual energies, to kickstart Cassandra. She misunderstands his intentions however and refuses to play his little game. Later though, she makes out with Max, and that somehow does it for Cassandra. However, when she finds out Max is an android, it totally freaks her out.

Maggie runs right into the hands of Mendes, who has become less controlable by the minute, and now he rapes and kills her, then kills Keller as well. Doctor Daniel in the meantime has observed everything from his controlroom and has now decided to abandon ship with his new companion Cassandra, so he decides to order Max to kill Mendes before deactivating him, and while Max does, he decides to become friendly with Cassandra - but unfortunately, despite her looks, Cassandra is not half the sex doll she was built to be, and she flat out refuses to give any sexual favours to Doctor Daniel, instead tears him apart together with Max, who has just returned from killing Mendes. It is now revealed that Doctor Daniel was an android himself all along, who has obviously developed an own will to such an extent that he has forgotten his origins.

An evacuation team arrives at the station, and Max and Cassandra decide to pretend to be Doctor Daniel and his assistant to be taken back to earth ...


A film from a time when Roger Corman was still going strong as a producer and from time to time proved one could make something relevant on a small budget: Obviously inspired by the then recent science fiction blockbusters Star Wars and Alien, Corman produced this little gem on a fraction of the other movies budgets, but based it on an intelligent script that blew those films right out of the skies. Everything is garnered by some special effects lifted from other Corman-productions, and costumes and sets that make surprisingly much sense despite (or even because of) their cheapness and cheesiness. The one key ingredient of the film though is Don Keith Opper as Max, who gives his role just the right awkwardness and humanity to bring what's basically a robotic weirdo to life and have the audience identify with him. Oh, and casting Klaus Kinski as a mad scientist is of course never a bad idea.

And all of this, of course, adds up to a masterpiece!


review © by Mike Haberfelner


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Robots and rats,
demons and potholes,
cuddly toys and
shopping mall Santas,
love and death and everything in between,
Tales to Chill
Your Bones to

is all of that.


Tales to Chill
Your Bones to
a collection of short stories and mini-plays
ranging from the horrific to the darkly humourous,
from the post-apocalyptic
to the weirdly romantic,
tales that will give you a chill and maybe a chuckle, all thought up by
the twisted mind of
screenwriter and film reviewer
Michael Haberfelner.


Tales to Chill
Your Bones to

the new anthology by
Michael Haberfelner


Out now from




On the same day
a Burglar wants to kill you
and your Ex wants
to make up ...
... and for the life of it,
you can't decide


A Killer Conversation

produced by and starring
Melanie Denholme
directed by
David V.G. Davies
written by
Michael Haberfelner
Ryan Hunter and
Rudy Barrow

out now on DVD