WARRIORS OF THE YEAR 2072 (1984) directed by Lucio Fulci (June 25, 2021)

[Splatterpunk]

If you’re like me, you probably associate legendary Italian director Lucio Fulci almost exclusively with the horror genre. However, he actually dabbled in many genres. In 1984, he released the dystopian sci fi flick, WARRIORS OF THE YEAR 2072 (aka THE NEW GLADIATORS aka ROME 2072 AD: THE NEW GLADIATORS aka FIGHTING CENTURIONS). The idea of the Maestro doing science fiction had me greatly anticipating Severin’s blu ray release as I had resisted purchasing subpar DVD releases. Last night, I gave it a spin.

In the future, the most popular TV show on the planet follows a man named Drake (Jared Martin) as he participates in motorcycle-centric death matches against opponents in a booby-trapped arena. A Rome based TV executive, Cortez (Claudio Cassinelli), is tired of losing in the ratings to Drake’s show and fumes over the fact that he actually is responsible for Drake’s career. Onboard his flying saucer-esque command center and guided by mysterious station boss Sam (an uncredited Giovanni Di Benedetto), Cortez hatches a plot to regain Drake’s services and take over the top of the ratings. The new show will feature kill or be killed gladiatorial combat to celebrate the two thousandth anniversary of Rome’s famous Coliseum. Notable supporting roles also belong to fan favorite Fred Williamson as a fellow combatant, Howard Ross as a gleefully sadistic guard/trainer, Eleonora Brigliadori as one of Cortez’s assistants, Donald O’Brien as Drake’s gruesomely disfigured friend Monk, Hal Yamanouchi as a Japanese serial killer, and ZOMBI 2’s Al Cliver as another combatant.

The screenplay is credited to Elisa Briganti, Dardano Sacchetti, Cesare Frugoni, and Fulci with story credits going to Briganti and Sacchetti. The narrative is obviously trading on the popularity of the period’s grim post-apocalyptic cycle. The plot is mostly straight forward, although some wrinkles toward the end of the film involving Sam and the behind the scenes mechanics at the station are needlessly complicated. Characters are broadly drawn but pleasing enough with the competent cast being relied upon to breathe life into their roles.

Martin is a little vanilla in the lead, but he projects a traditional heroism that contrasts nicely with the generally dark atmosphere. Williamson, as always, is fun and brings some charm to the piece. Yamanouchi is memorably energetic. Brigliadori gets possibly the most well defined arc and does a fine job. The cast has a natural chemistry and sells the plot’s more outlandish scenarios.

Production design is a huge strength for the film. There are a series of aerial shots of futuristic glimmering Rome that pepper the film. Now, these sequences utilize obvious miniatures, but they look supremely cool and give the film some scope beyond its low budget roots. Costumes and sets are delightfully ‘80s futuristic. The laser blasts are cheesy, but again, they look cool. Stunts are well done, although the motorcycle death match that opens the movie is a little too stiff. Makeup effects aren’t as prevalent as in Fulci’s horror outings, but there are still a few moments of nicely done grue. Monk’s facial scarring and eye prosthetics aren’t particularly convincing, but they’re successfully gooey and gross.

Giuseppi Pinori (credited as Joseph Pinori) does some interesting work with the camera. There’s a nice visual motif involving shots of monitors or screens where we pull back and see the characters watching those screens that seems to be Fulci drawing a comparison between our viewing of the film’s violence and the characters’ viewings. Storytelling is clear and editor Vincenzo Tomassi (as Vincent Thomas) stitches together everything nicely. A rhythm is established over the 89-minute runtime, although there are a few lulls in-between the action.

The justifiably beloved Riz Ortolani provides a sleek electronic score that assists with the scope and tone. There’s a jazzy interlude, but most of the aural backdrop is kinetic with fat and juicy synths. I’m very happy that Severin’s package includes the music on a bonus CD.

Lucio Fulci’s WARRIORS OF THE YEAR 2072 is maybe not as purely thrilling as some of the Maestro’s horror flicks, but his style and lurid aesthetic transfers nicely to the sci fi setting. The moody aerial shots and Riz Ortolani’s score alone are reason enough to watch the film. Recommended for fans of ESCAPE FROM NEW YORK, MAD MAX 2, and THE RUNNING MAN.

[john01824]

I just blind bought this used as I am a fan of Williamson and Fulci. Any redeeming qualities or just grade Z movie trash? Be happy with Fulci's usual blood and gore with some T&A thrown in for good measure....

[vortexx]

Originally Posted by Splatterpunk

If you’re like me, you probably associate legendary Italian director Lucio Fulci almost exclusively with the horror genre. However, he actually dabbled in many genres. In 1984, he released the dystopian sci fi flick, WARRIORS OF THE YEAR 2072 (aka THE NEW GLADIATORS aka ROME 2072 AD: THE NEW GLADIATORS aka FIGHTING CENTURIONS). The idea of the Maestro doing science fiction had me greatly anticipating Severin’s blu ray release as I had resisted purchasing subpar DVD releases. Last night, I gave it a spin.

In the future, the most popular TV show on the planet follows a man named Drake (Jared Martin) as he participates in motorcycle-centric death matches against opponents in a booby-trapped arena. A Rome based TV executive, Cortez (Claudio Cassinelli), is tired of losing in the ratings to Drake’s show and fumes over the fact that he actually is responsible for Drake’s career. Onboard his flying saucer-esque command center and guided by mysterious station boss Sam (an uncredited Giovanni Di Benedetto), Cortez hatches a plot to regain Drake’s services and take over the top of the ratings. The new show will feature kill or be killed gladiatorial combat to celebrate the two thousandth anniversary of Rome’s famous Coliseum. Notable supporting roles also belong to fan favorite Fred Williamson as a fellow combatant, Howard Ross as a gleefully sadistic guard/trainer, Eleonora Brigliadori as one of Cortez’s assistants, Donald O’Brien as Drake’s gruesomely disfigured friend Monk, Hal Yamanouchi as a Japanese serial killer, and ZOMBI 2’s Al Cliver as another combatant.

The screenplay is credited to Elisa Briganti, Dardano Sacchetti, Cesare Frugoni, and Fulci with story credits going to Briganti and Sacchetti. The narrative is obviously trading on the popularity of the period’s grim post-apocalyptic cycle. The plot is mostly straight forward, although some wrinkles toward the end of the film involving Sam and the behind the scenes mechanics at the station are needlessly complicated. Characters are broadly drawn but pleasing enough with the competent cast being relied upon to breathe life into their roles.

Martin is a little vanilla in the lead, but he projects a traditional heroism that contrasts nicely with the generally dark atmosphere. Williamson, as always, is fun and brings some charm to the piece. Yamanouchi is memorably energetic. Brigliadori gets possibly the most well defined arc and does a fine job. The cast has a natural chemistry and sells the plot’s more outlandish scenarios.

Production design is a huge strength for the film. There are a series of aerial shots of futuristic glimmering Rome that pepper the film. Now, these sequences utilize obvious miniatures, but they look supremely cool and give the film some scope beyond its low budget roots. Costumes and sets are delightfully ‘80s futuristic. The laser blasts are cheesy, but again, they look cool. Stunts are well done, although the motorcycle death match that opens the movie is a little too stiff. Makeup effects aren’t as prevalent as in Fulci’s horror outings, but there are still a few moments of nicely done grue. Monk’s facial scarring and eye prosthetics aren’t particularly convincing, but they’re successfully gooey and gross.

Giuseppi Pinori (credited as Joseph Pinori) does some interesting work with the camera. There’s a nice visual motif involving shots of monitors or screens where we pull back and see the characters watching those screens that seems to be Fulci drawing a comparison between our viewing of the film’s violence and the characters’ viewings. Storytelling is clear and editor Vincenzo Tomassi (as Vincent Thomas) stitches together everything nicely. A rhythm is established over the 89-minute runtime, although there are a few lulls in-between the action.

The justifiably beloved Riz Ortolani provides a sleek electronic score that assists with the scope and tone. There’s a jazzy interlude, but most of the aural backdrop is kinetic with fat and juicy synths. I’m very happy that Severin’s package includes the music on a bonus CD.

Lucio Fulci’s WARRIORS OF THE YEAR 2072 is maybe not as purely thrilling as some of the Maestro’s horror flicks, but his style and lurid aesthetic transfers nicely to the sci fi setting. The moody aerial shots and Riz Ortolani’s score alone are reason enough to watch the film. Recommended for fans of ESCAPE FROM NEW YORK, MAD MAX 2, and THE RUNNING MAN.

I haven't watched this yet, but it is interesting to note that Fulci has worked in just about every genre through his long career. I don't think he ever did hardcore porn though.

[gbm82]

Originally Posted by john01824

I just blind bought this used as I am a fan of Williamson and Fulci. Any redeeming qualities or just grade Z movie trash? Be happy with Fulci's usual blood and gore with some T&A thrown in for good measure....

you say that like being grade z trash isn't a redeeming quality...