I've been long overdue to watch this. One hears the name 'Max Headroom', and sees star Matt Frewer all over the place, long before knowing anything else about the character, or the associated film or TV programs. I assumed a cheeky cyber sci-fi comedy; what I didn't anticipate was how stunningly dark the underlying ideas are, however sardonically they're approached. True, in the broad strokes it's a familiar dystopia of wealth, power, and extreme corporate malfeasance without one shred of humanity; one recognizes glimmers in every aspect of the production of similar fare from all throughout the 80s, and the reality of how much Network 23 has in common with real-life organizations in 2022. For that matter, one also has to consider the equivalence between the development in-universe of the talking head, and how there's a certain oblique correspondence to present-day discussions of artificial intelligence in online spaces. This picture is unquestionably an original creation all its own, though, and even in a runtime of just under one hour, the result is reliably outstanding. '20 minutes into the future' is fantastic!
It may be "just" a TV movie, and a veritable prologue to introduce a character, yet in every regard the feature benefits from care and craftsmanship recalling major studio films instead of its actual kin. In various ways I'm reminded of John Carpenter, David Cronenberg, Ridley Scott, James Cameron, or other big name filmmakers: the digital additions, practical effects, production design and art direction, hair and makeup, costume design, and even Phil Meheux's vibrant cinematography. The original score of Midge Ure and Chris Cross, lending somber atmosphere, would feel right at home in the works of any of those mentioned, and sounds in turn like it could have been penned just as well by Carpenter, Howard Shore, Jerry Goldsmith, or any such composer. Directors Annabel Jankel and Rocky Morton, and screenwriter Steve Roberts, all demonstrate a spark of ingenuity that lets every component part of their contributions and the picture at large resonate with unexpectedly rich, imaginative spirit. It's at once both delightfully tongue-in-cheek and astoundingly grim, and always wonderfully smart and sharp with every idea to present.
One is quite accustomed to any film of such an abbreviated length, and made for TV movies too, coming across as very direct, and possibly rushed and forced. It would be very easy as a viewer to feel shortchanged by such a production, nevermind that Channel 4 ordered this simply as an origin for the title character. Yet the writing and direction is marvelously keen, the crew turned in work just as fine as any picture one could point to as a comparison, and the entire cast - even those in small supporting roles - bring their parts to life with such incredible, gratifying personality. It seems an impossible task, but 'Max Headroom' comes off as a complete, balanced, well-rounded feature, more than can be claimed by some Silver Screen blockbusters with the all the resources of Hollywood behind them. Even if every constituent element weren't so stupendously well done in and of itself, the film as whole is a rather impressive accomplishment given what it pulled off within its chosen medium. I don't think it's at all unreasonable to suggest that when all is said and done, frankly this is a must-see. Whether one goes on to watch the programs that followed from this introduction, or just takes in '20 minutes into the future' of its own accord, it's a tremendous, intelligent, witty, and highly entertaining genre piece that not only continues to hold up but is arguably more relevant than ever. However one must go about watching it, this is worth far more than sixty mere minutes of one's time!
It may be "just" a TV movie, and a veritable prologue to introduce a character, yet in every regard the feature benefits from care and craftsmanship recalling major studio films instead of its actual kin. In various ways I'm reminded of John Carpenter, David Cronenberg, Ridley Scott, James Cameron, or other big name filmmakers: the digital additions, practical effects, production design and art direction, hair and makeup, costume design, and even Phil Meheux's vibrant cinematography. The original score of Midge Ure and Chris Cross, lending somber atmosphere, would feel right at home in the works of any of those mentioned, and sounds in turn like it could have been penned just as well by Carpenter, Howard Shore, Jerry Goldsmith, or any such composer. Directors Annabel Jankel and Rocky Morton, and screenwriter Steve Roberts, all demonstrate a spark of ingenuity that lets every component part of their contributions and the picture at large resonate with unexpectedly rich, imaginative spirit. It's at once both delightfully tongue-in-cheek and astoundingly grim, and always wonderfully smart and sharp with every idea to present.
One is quite accustomed to any film of such an abbreviated length, and made for TV movies too, coming across as very direct, and possibly rushed and forced. It would be very easy as a viewer to feel shortchanged by such a production, nevermind that Channel 4 ordered this simply as an origin for the title character. Yet the writing and direction is marvelously keen, the crew turned in work just as fine as any picture one could point to as a comparison, and the entire cast - even those in small supporting roles - bring their parts to life with such incredible, gratifying personality. It seems an impossible task, but 'Max Headroom' comes off as a complete, balanced, well-rounded feature, more than can be claimed by some Silver Screen blockbusters with the all the resources of Hollywood behind them. Even if every constituent element weren't so stupendously well done in and of itself, the film as whole is a rather impressive accomplishment given what it pulled off within its chosen medium. I don't think it's at all unreasonable to suggest that when all is said and done, frankly this is a must-see. Whether one goes on to watch the programs that followed from this introduction, or just takes in '20 minutes into the future' of its own accord, it's a tremendous, intelligent, witty, and highly entertaining genre piece that not only continues to hold up but is arguably more relevant than ever. However one must go about watching it, this is worth far more than sixty mere minutes of one's time!