'Trancers' (1984) - Charles Band.

It isn’t often that I am compelled to write a laudatory review over a recent Amazon purchase; but, by gad, those stalwart individuals at 88 Films have galvanized my finger to do just that! They are to be heartily congratulated after having done much sterling work with their exemplary Bluray edition of Charles Band’s seemingly ageless ‘Trancers’. Much like a cinematic Dorian grey, this plucky little sf/actioner from the early 80s lacks the malingering tarnish one might initially expect from its age and milieu; and yet; here we are in 2015 (for better or worse) and ‘Trancers’ glistering veneer is not only wholly unblemished, but greatly renewed by this magnificently detailed HD transfer; which, to these schlock-movie obsessed eyes appears to have been authored meticulously, with enormous care and diligence.

I sincerely feel that this sterling edition of a much neglected B-film has been put together with considerably more élan, and palpably infectious love of genre than many of the more execrable examples of sf being shot today, with their relentlessly banal scripting, vapid performances, and worse; their pernicious overreliance of CGI. While I can accept many individuals may not share my enthusiasm for this wonderful confection; it is inconceivable to me how anyone, outside of a poorly lobotomized newt couldn’t appreciate the tangible filmmaking craft these talented folk put into it.

No doubt, at some later date, we will inevitably see a paltry, neutered, and exsanguinated version of ‘Trancers’ rebooted; but we shan’t see anything quite like the original again; making this delightfully pristine  version all the more thrilling to those that have a genuine love of well-crafted pulp cinema.
Charles Band is a name that inspires a demonstrative tumult of giddy appreciation to fans of his hugely entertaining ‘Puppet Master’ series, and for his involvement in landmark horror features, such as Stuart Gordon’s unrivalled Lovecraftian splatter opus, ‘Re-Animator’ and his woefully underappreciated gothic masterpiece ‘Castle Freak’; but it is here, that he equips himself as being a more than capable director, where he will have earned his rightful place upon the pantheon of B-Movie icons; next to Larry ‘it’s alive’ Cohen, Frank ‘Basket case’ Henenlotter, Lewis ‘Alligator’ Teague, Eric ‘Bad Moon’ Red, Jack ‘The Hidden’ Scholder,  et al.

At its core ‘Trancers’ is entirely conventional; but by using so many readily identifiable film noir motifs: glib, wiseacre renegade cop, inhumanly plucky female sidekick; irascible boss and grandly malevolent villain, along with a gloriously lurid admixture of vividly invoked horror/sf topes: time travel; murderous, quasi-zombiefied minions; and of course, the hero’s rather silly-looking laser gun (outside of varying levels of gratuitous nudity, it is THE most important artefact in low-budget sf) This is a cracking, fast moving sf actioner that is greatly enhanced by luminous performances by Tim Thomerson and Helen Hunt; for me, their wonderfully engaging scenes together are the film’s genuine heart; and much like the similarly effervescing blend of good bourbon and ginger ale, they engender a no less intoxicating chemistry.

The last time I watched ‘Trancers’ was on VHS and its grandiloquent transformation onto a higher resolution format is an entirely successful affair; I particularly noted the pin-sharp clarity on the foreground, which is especially pleasing in the sequence when Jack Deth & Leena are conversing in the classic sports car (which includes the nigh on immortal line ‘Dry hair is for squids!’) Another scene which really popped for me was the opening gambit in the greasy, neon-hued diner which looks magnificent; Mac Ahlberg’s photography is sublime; the memorable scene is dynamically shot, with real zip, and his lighting is immaculate. It is also interesting to note that with every other contemporary horror film being scored with vintage Tangerine Dream-style synths, that watching ‘Trancers’ today binds it rather seamlessly to the zeitgeist; since the atmospherically pulsing score by Mark Ryder and Phil Davies has proved to be a somewhat timeless confection. (And I would absolutely love to see a ‘Trancers’ soundtrack released at some point in the future)

I zealously refute any spurious allegations that ‘Trancers’ is dated; absolute errant tommyrot! Since visually; musically; and acting-wise it nimbly outstrips many, if not all the similarly low budget offerings so hastily fashioned today. (At least I assume it is thus, since they all look so uniformly scrappy, as if they have been inexpertly put together by beery, myopic editors, penned by illiterate scribes; with the director’s equally ungifted mate doing the terminally wretched shark effects on his well-knackered ZX81!) The only aspect of the film that dates it; is the actual date of the film stock it was originally printed on; good cinema is good cinema regardless of its age: banal, narrow minded pedants really need to stop obsessing over the obvious, and simply enjoy the abundant skill involved in making such a fabulously inventive b-movie as ‘Trancers’.

If, like me, you savour a generosity of extra features on your DVD/Bluray purchases; you will find a veritable plenitude of riches here. And for the currently absurdly low asking price; this impossibly burnished edition of Charles Band’s immortal ‘Trancers’ is a stone-cold must-buy for fans; since your mouldering VHS copy is for squids! If you missed ‘Trancers’ the first time around, 88 Films interminably spiffy Bluray is a most glorious introduction to those lucky baskets that will soon succumb to its myriad charms!

(I am simply a nostalgic, unrepentantly overzealous fan of geek-ball movies; not a shill; nor a company man; disingenuous stooge, or toadying fan boy: and I am not affiliated with 88 films in any way; but I do accept that I have watched far too many films, and, frankly, I should get out more often: but the barred windows and heavy psychotropic meds now forcefully preclude this.)