After a nuclear war, Phillip Hammer and Marlowe Chandler have spent fifteen years on their own in a bunker, stuffed with junk from the 40s and old detective novels. Now, nineteen-years-old, they leave their shelter to find a world full of mutants, freaks, and cannibals. They become famous detectives in the struggle for the two keys that could fire the last nuclear weapon. I don't know what happened to Albert Pyun between this movie and Cyborg, but I like *this* Albert Pyun. This one made a post-apocalyptic/film-noir/comedy/adventure. (The closest comparison I have is Circuitry Man minus the romance and robots. Does that help clear things up? Probably not.) Featuring wanna-be 40s detectives, 50s greasers, 60s cannibal hippies, sociopathic 70s disco kiddies, and 80s slam-dancin' punks. Michael Dudikoff, playing the Jerry Lewis-style comic relief. Sue Saad, as a Pat Benatar for the Rocky Horror crowd. George Kennedy as the b-movie, small-role-character-actor king of kings. Giant rats. Giant rats! Only near the end, in an overlong, mostly slo-mo shootout climax, did I get hints of the Pyun of Cyborg. But all is well with a swing-dance finale! I… I really liked this movie. This is that rarity amongst post-apocalyptic cinema - a film that dares to show people trying to enjoy life in the ruins of civilization. Although it's eighties heritage shows through in an overzealous use of neon, tacky dance-rock and the frankly dodgy nightclub scenes, any film that can combine a nuclear war with disco has to be applauded.<br/><br/>Our heroes emerge after a childhood in a bomb shelter. Their only guide to the 'real' world has been the work of crime writers such as Raymond Chandler. Convinced, therefore, that everyone wears sharp suits, talks like a hipster and goes down after one swift punch to the jaw, they embark on their journey back to civilization.<br/><br/>Although the film starts by gently mocking the conventions of post-apocalyptic cinema (disco dancing midgets in white suits for instance (no, I'm not making this up!)), the bravery of the script dwindles, and about half way through it degenerates into the very generic twaddle that it sets out to mock. Still, as generic twaddle goes, it is enjoyable and entertaining, and hey, love that disco dancing…
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