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But what vaunts Necron 99 (who’s renamed “Peace” by the wizard Avatar after some unexplained conditioning) above this predictable story is that Bakshi never really explains what Peace is exactly. The ability to toggle the humor setting of TARS in particular from 0-100 percent is such a wonderful running joke in the film that it succeeds in endearing the audience to a featureless slab of metal. The Sentinels, X-Men: Days of Future Past (2014)The most recent entry in the X-Men franchise practically opens as a superhero snuff film. Omnidroids, The Incredibles (2004)20th Century Fox may be completely inept when it comes to making a decent Fantastic Four movie, but thankfully for audiences, Pixar and Brad Bird made an amazing one years earlier, calling theirs The Incredibles instead.
(With all the unwanted sequels and reboots, why can’t we ever get a whimsical reenvisioning along these lines? The Colossus, The Colossus of New York (1958)Yet another Frankenstein-y tale involving brain transplant into a robotic body—with only the noblest of intention, of course! It may never have been the best the studio had to offer, but it was still a fun space adventure, featuring an affably goofy, “amnesiac” robot, voiced by Martin Short. The smashing in T3 is fun, sure, but Skynet really shouldn’t have released this beta test of a terminator—it’s gotta be a real bitch sending update patches into the past. As far a blatant Star Wars ripoffs go, it’s beyond egregious. Oh, and the UFOs aren’t just do-gooding Fix-Its, they’re fertile, family-minded Fix-Its at that. and with a script co-penned by Brad Bird (his first feature screenplay), *batteries not included is smart and cute, in the best sense of that term—the Fix-Its are positively adorbs.
It’s only Avatar who calls the machine a “robot,” and it’s Avatar who belongs to the spiritual world, assumingly having no real conception of technology anyway. Beta, The Last Starfighter (1984)Lance Guest does double-duty in this “space opera” as Beta, an android dupe of human arcade champ Alex, who gets recruited by the titular video game’s designer and, in turn, entangled in space politics and foreign policy. Though imposing and deadly enough in their (closer-to-the-classic comics look), nascent 1970s chassis, it’s when the movie flashes forward to the near future, where they’ve become perfect impaling, melting, decapitating, crushing machines, able to use the unique powers of the X-Men’s dwindling ranks against them. Like the X-Men-terminating Sentinels in the previous entry, Syndrome’s line of superhero slaughterbots is startlingly good at rubbing out the “Supers”. But the movie also succeeds to creating a palpable sense of dread, as the more liberated women of Stepford, Conn., are replaced with submissive, conformist housewife androids. Baymax, Big Hero 6 (2014)An adaptation of a relatively obscure Marvel line, Big Hero 6 was afforded significantly more freedom to deviate from the look and themes of its source material.
Which, in turn, places Necron 99/Peace in an interstitial category, somewhere between the two warring worlds—and when Peace sacrifices himself to save his friends, the cyborg (or whatever he is) represents maybe the purest being in the whole movie, and by extension he represents Bakshi’s belief that neither technology nor spirituality alone will ever save the planet from itself. While Alex—and the script—goes further down the intergalactic rabbit hole, his robot doppelganger keeps up appearances on the home front, including with the girlfriend, until the game combat turns IRL, and they must team up to save humanity. The “Iron Monster”, The Phantom Creeps (1939)Say what you must about mad scientist Dr. And when our heroine, Joanna, stumbles across her android double at the end, and it stares back at her with those dead doll’s eyes, it’s still damn chilling today. This became most readily apparent in the re-imagination of Baymax.
The entries must have appeared in a theatrically released movie. Never mind that one is very nearly defeated by a staircase; an abandoned Chicago is a bad place to try holding off these boxy aggressors. Alien robots, The Earth Dies Screaming (1964)In addition to boasting one of the most awesome titles for a movie ever, this end-of-the-world British sci-fi thriller contains a legitimately unique strain of robotic death machine.
The robot must have some kind of body—typically humanoid in shape (though minor exceptions regarding shape for especially awesome robots may appear). The ability to go intangible or rock hard, to fly, to fire a heat beam from his gem, super-strength … Only the recentness of his Big Screen debut keeps him from being higher on the list. It has such an unforced, guileless energy about it, you can practically feel an entire era of film’s influence behind it. What a shame their inventor had only the limited imagination to use his dozens of mass destruction machines to rob banks. Like any other self-respecting murderous robot from the 1950s, these machines came equipped with pinchy hooks and face-mounted death rays. Let’s hear it for these groundbreaking movie representations of multi-tasking killing machines! Sure, Paul Bettany’s version has an Infinity gem on his forehead, but if there’s one thing the Vision’s always been, it’s over-powered. Its look and feel are so authentically 1940s pulpy movie serial, it could almost be mistaken for a recently unearthed classic from the day (if it weren’t for the genuinely impressive CGI effects and contemporary It-stars like Jude Law, Gwyneth Paltrow and Angelina Jolie). Pretty classic ’40s robot look, plus, they breathed fire! Great Caesar’s Ghost—you live in a city that counts Lex Luthor amongst its residents! ), the invading robots from Venus did a fair job exterminating the human vermin, too.