Robot Jox (1989) Movie Review

Capping the robot genre of the 1980s is this cult classic gem from director Stuart Gordon. Robot Jox received little notice upon release; a perfect storm of disadvantages plagued post-production. Initially filmed in the fall of 1987, it would not hit theaters until November 1990, following a lengthy bankruptcy of Empires Pictures. By that time, of course, the Cold War themes of Robot Jox were passé and the Transformers hype the movie ostensibly capitalizes on had long passed. Not until the 2010s did this movie about giant robot gladiators attract second looks; perhaps in part to the resurgence of mechs in popular cinema with Transformers (2007), Real Steel (2011), and Pacific Rim (2013) as prime examples. The latter film is most like Robot Jox, however, with Guillermo del Toro embracing the campiness of it all.

Director: Stuart Gordon
Screenplay: Stuart Gordon, Joe Haldeman
Producers: Albert Band, Charles Band
Cinematography: Mac Ahlberg
Editor: Ted Nicolaou, Lori Ball
Music: Frédéric Talgorn
Select Cast: Gary Graham, Anne-Marie Johnson, Paul Koslo, Robert Sampson, Danny Kamekona, Hilary Mason, Michael Alldredge 
Runtime: 85 minutes
Country of Origin: USA
U.S. Release Date: November 21, 1990 – Empire Pictures, Altar Productions

Film director Stuart Gordon (Re-Animator; Honey, I Shrunk the Kids; From Beyond) co-wrote the story with science fiction author, Joe Haldeman (The Forever War); Haldeman then wrote the screenplay with significant changes by Gordon. Set in a future wasted by nuclear conflict, the countries of Earth have outlawed war. Instead, disagreements are settled by pitting one country’s best robot jockey (who pilots a kaiju-sized mech) against another. Following territorial disputes in Alaska, it is the United States and the Soviet Union duking it out; Achilles (Gary Graham) and Alexander (Paul Koslo) represent the two superpowers respectively. Following a tragic accident in the ring, however, Achilles suffers a moral crisis and is usurped as top jock by newcomer – and female – Athena (Anne-Marie Johnson). Meanwhile, Achilles’ friend and mentor Tex (Michael Alldredge) seeks to uncover a spy-ring hindering the U.S. command.

It is a plot worthy of its Saturday morning cartoon roots, filled with larger-than-life characters and campy one-liners; however, to the film’s credit, it manages to avoid certain clichés. The relationship between Achilles and Athena, for example, runs counter to expectations by resisting a tired “will they won’t they” subplot. Rather, their conflict rests on athletic competition and any sexual tension is treated almost irreverently. Consequently, Robot Jox achieves the stylized ’80s machismo of Top Gun but without the obligatory love story weighing it down.

The production direction, by Giovanni Natalucci, is another highlight; the barren post-apocalyptic landscape mirrors the brutal stakes of the story. Fitting neatly into the overall design is the spectacle of the movie, driven by the stop-motion effects of David Allen. Allen (The Howling; Honey, I Shrunk the Kids; Ghostbusters II) succeeds in imbuing the gladiatorial combat with both grounded practicality and indulgent imagination.

As a relatively low-budget affair, Robot Jox punches far above its weight; but it missteps badly in its third act treatment of Athena. Despite spending the whole movie rising through the ranks, she is ultimately treated as a damsel in distress. Robbed of her empowerment, she completely and unceremoniously disappears after Achilles takes over the fight. Johnson gives a dedicated performance and Athena’s resourceful grit could have punched up the finale.

Nevertheless, Stuart Gordon’s Robot Jox ultimately seems ahead of its time. It is a unique blend of stylized drama and fist-pumping action and it delivers on its comic book premise while also transcending its cash-grab origins with top-notch special effects and knowing direction. As far as the giant-fighting-robot genre goes, Robot Jox is essential viewing.

by Vincent S. Hannam

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