10.05.2017

Guyver: Dark Hero (1994)

PLOT: A young man possessed by weaponized alien armor known as the Guyver travels to a mysterious archaeological dig site that may hold the key to explaining its origins. It may also hold around 800 million barrels of salted caramel, a candy lover’s dream.

Director: Steve Wang
Writers: Steve Wang, Nathan Long, Yoshiki Takaya
Cast: David Hayter, Kathy Christopherson, Christopher Michael, Bruno Patrick





PLOT THICKENER

You know that old saying about how “clothes make the person?” Somewhat true! Certain articles of clothing can make you feel cool and confident. Yet other outfits will make you feel like a bargain-bin Mayor McCheese on a casual Friday. Somewhere between these two ends of the fashion spectrum is the sort of clothing that can make you feel like you can jump really high, perform lethal martial arts moves, and shoot lasers out of your chest. But what if this clothing -- hell, let’s call it armor -- couldn’t be removed at all? What if it was actually part of your body and you were merely hosting it? This is the premise of Bio-Booster Armor Guyver, a Japanese manga series from the 1980s and 90s that was adapted for the American film screen twice by filmmaker Steve Wang: first in 1991 under the title, The Guyver, and again just three years later as Guyver: Dark Hero.


Sean Barker (Hayter) keeps waking up violently in the middle of the night, drenched in sweat. Night terrors? Consuming sugar too close to bedtime? Yeah, close. Some time has passed since the Guyver, an alien bio-armor, took over his body. It has a mind of its own and activates at random, turning Sean into a lethal fighting machine. Sure -- it was useful when he was battling the Cronos Corporation, a nefarious group trying to locate the Guyver for its own evil means, but now it’s just cramping his style. On the one hand, it lets him fight large criminal enterprises with relative ease, but on the other hand, he can’t go to the grocery store to shop for soup ingredients without worrying about the Guyver taking control of his faculties and blasting the produce section to a pulpy mess.

While watching a local news story about some mysterious killings near a covert dig site, Sean notices footage of cave paintings that correlate to the notebook sketches he’s been compulsively doodling in his waking hours. He takes a taxi to a general store -- like most of us did before Google Maps -- seeking help to identify a non-specific location he’s curious to visit. Once there, he meets Cori Edwards (Christopherson) a researcher buying a case of cheap beer for her archaeological dig team. Initially reluctant because of potential stranger danger, she finally agrees to take him there based on the intrigue of his notebook sketches. She fibs to the dig organizers on his behalf and Sean is suddenly lending a hand in their efforts.


In time, he begins to discover the objectives for the dig, the shadowy sources of its financing, and the various intentions of some of the so-called “researchers” on the project. The mysterious killings, previously attributed to wildlife or even a werewolf, may be the work of Zoanoids, the monstrous shape-shifting battle forms that comprise the Cronos Corporation. Will Sean find the source behind the Guyver? Can he defeat Cronos and the Zoanoids and rid himself of the Guyver once and for all? And will the persistent lower back pain he experiences after consecutive hours of shoveling respond better to a heated pad or deep tissue massage? Maybe a little of both?

The last few Octobers, I’ve made a concerted effort to focus on movies that feature some sort of monsters, spooky elements, and schlocky gore. Prior to watching it, I had no idea that Guyver: Dark Hero would satisfy all these criteria. While I’ve never seen the first one -- by all indications, this is the stronger of the two efforts -- the sequel stands on its own as an enjoyable romp that requires little pretext or understanding of the source material. At its core, this is a film about a man who is unable to control his body and the misdeeds that result from its strange powers. Anyone who has eaten at Chipotle can probably relate.

The creature design of the various Zoanoids might seem familiar to those viewers who have watched any number of Kamen Rider or Power Rangers episodes, but what threw me for a loop was the amount of blood and gore during the fight scenes. It was a minor but effective touch that upped the shlock factor and raised the stakes within the story (who wants to see a vanquished enemy dissolve out of a composite shot?!) The spectacle of violence may even make you disregard the fact that the action scenes are unevenly distributed and the fight choreography is a bit inconsistent.


The fight scenes are quite good for the most part, even with the obvious performative restrictions of bulky costuming. Fight choreographer Koichi Sakamoto and his Alpha Stunt Team certainly deserve credit for that. There’s some goofy stuff -- surprise wrestling moves, a plodding splash-fight in the water, and Guyver killing an enemy with his random laser titties -- but all of it is forgivable in the context of this cinematic universe. What can’t be ignored is staging your climactic fight in a cave with a bunch of stalagmites and stalactites and not incorporating them into the choreography at all. Friggin’ Cliffhanger got it -- why didn’t this film?

Even with all the fun stuff Wang puts in the mix, the film’s excessive run-time -- over two hours -- was nearly a deal-breaker. It drags quite badly in spots and the narrative gets bogged down by attempts to translate what I assume were frequent panels of Sean’s internal monologue strewn throughout the series. It’s chatty to a fault and the script tries to juggle too many secondary plot points and character motivations.  Fans of the original manga series or the initial anime adaptations might appreciate it, but I think viewers approaching the film without that context may risk becoming disengaged. There’s a better film somewhere in here if the filmmakers had left around 20 minutes of narrative fat on the cutting room floor.

VERDICT

If, like me, your introduction to the pairing of Sakamoto and Wang was the non-Gosling Drive (1997) your expectations might have been set artificially high, but the cool stunt shit is here along with plenty of wacky visual touches. The acting performances are serviceable but you’re watching this movie for dudes fighting in elaborate creature suits. They’re aren’t many American tokusatsu (“monster”) films out there, even fewer good ones, and Guyver: Dark Hero might be the best.

AVAILABILITY





3.5 / 7



1 comment:

  1. Wacky! I remember seeing promos for this many moons ago and was always confused of its origin... And purpose.

    I hope this film review leads to a highly anticipated venture into the said Steve Wang DRIVE (1997). It may be the last great American martial arts film. The DVD Directors Cut is a truly wonderful filmic document, with behind the scenes extras and context for what was a labour of love - a sincere tribute to the great Hong Kong martial arts pictures. So I can only imagine what kind of treatment you would give the film.

    ReplyDelete

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