Before The Hunger Games…

Before The Purge…

There was…oh wait, does this sound familiar?  Did you just read those two lines and get hit by a sudden feeling of déjà vu?  Well, that might be because I used those exact same lines to start my review of the 1965 Italian sci-fi film, The Tenth Victim.

They’re still applicable for this review though.  In many ways, the 1984 film Warriors of the Year 2072 (a.k.a. The New Gladiators) is a loose remake of The Tenth Victim.  (I imagine some critics would say it’s more of a rip-off than a remake.  What you label it will probably depend on how much tolerance you have for Italian exploitation films in general.)  Of course, Warriors of the Year 2072 draws inspiration from more than just The Tenth Victim.  A Clockwork Orange, Escape From New York, the Mad Max films, Blade Runner; bits and pieces from all of them show up here.

Even if you didn’t already know it, you might be able to guess that this film was directed by Lucio Fulci.  The film features Fulci regulars Al Cliver (of Zombi 2 fame) and Howard Ross (of New York Ripper fame) in supporting roles.  Cinzia Monreale, who had her throat ripped apart in Fulci’s The Beyond, appears in a cameo in which she again has her throat ripped apart.  (Actually, she just hallucinates having her throat ripped apart and is seen alive afterward, as if Fulci himself is saying, “See, it’s all just film trickery.  Nobody really gets hurt in my movies.”)    Finally, and most obviously, a character graphically loses an eye.  It’s simply not a Fulci film without some sort of graphic ocular trauma.

The film also features a theme that would show up in a lot of Fulci’s post-New York Ripper works.  Warriors of the Year 2072 is about the role of violent entertainment in both maintaining and destroying society.  Which is not to say that the film really has that much to say about it.  Thematically, Warriors of the Year 2072 is all surface level but those themes are still present.

As for the film itself, it takes place in the year 2072, so at least the title is being honest with us.  The world is now run by competing television networks.  The American television network has the highest rated show: Kill Bike, in which men on motorcycles battle to the death.  Cortez (Claudio Cassinelli), the program director for Rome-based WBS-TV, is ordered by the station’s owner, the mysterious Sam, to come up with a program that will be more popular than Kill Bike.  At first, Cortez tries to put on a show called The Danger Game, where people are forced to hallucinate dying in violent ways.  When that show fails to beat Kill Bike, Cortez decided to just rip-off Kill Bike…

And let’s just stop a moment to point out the obvious.  Neither The Danger Game nor Kill Bike would feel at all out-of-place on television today.  Remember Fear Factor?  How different is The Danger Game from that old show?

Anyway, Cortez’s new show is basically Kill Bike with a twist.  The motorcycle combat will now take place in the Roman coliseum and the contestants will all be convicted murderers awaiting execution.  Fortunately, the very popular star of Kill Bike — Drake (Jared Martin) — has recently been convicted of murder!  It’s convenient how that worked out…

As we discover through the magic of slow motion flashbacks, Drake was returning home one night when he discovered that his wife had been murdered by three young men who all appeared to be doing a bad impersonation of Malcolm McDowell in A Clockwork Orange.  The three men were then murdered and Drake was convicted.  However, Drake insists that he’s innocent and, even when confronted by laughing hallucinations of the three men, he refuses to attack them.

Could it be that someone is framing Drake?  Of course!  But why…

Well, before we find out the answer to that, we watch as Drake is brought to the coliseum and is trained in gladiatorial battle.  He immediately makes an enemy out of the head guard, the sadistic Raven (Howard Ross, who is hilariously over-the-top).  He also bonds with the other gladiators, one of whom is named Abdul.  Abdul is played by Fred Williamson, largely because it’s not a mid-80s Italian sci-fi dystopia without Fred Williamson.

Warriors of The Year 2072 cannot compare to Fulci at his best.  This is no Zombi 2 or The House By The Cemetery.  At the same time, it’s definitely better than most of the films that Fulci made after The New York Ripper.  Fulci was a supreme stylist and, as a result, Warriors of the Year 2072 is always watchable.  Even when you don’t have the slightest idea what’s going on, you still can’t quite bring yourself to look away.  Yes, the special effects are nothing special.  And yes, it’s obvious that futuristic Rome was just a miniature set.  But the cheapness of the film gives it an odd charm.  It’s the cheapest future imaginable and somehow, it actually feels appropriate.  Why do we always assume the future will be sleek and shiny?  Maybe it’ll look like cardboard, like in Warriors Of The Year 2072!

Warriors of the Year 2072 is a campy, frequently silly, and oddly entertaining look at the future of the human race.  If you’re a Fulci fan or a lover of Italian exploitation cinema, track it down.