AMERICAN CYBORG: Robot Cinema Beyond “Terminator” and “RoboCop”

In the 1990s, robots and cyborgs were all the rage. Fans of VHS tapes adored them as much as tough cops, psychopaths, and karate warriors. Each month brought a slew of new films featuring machines that looked human but embodied destruction. Whether due to programming, malfunction, or rebellion, they viewed humanity as the enemy. Filmmakers often blurred the lines between terms: a cyborg is a human with mechanical enhancements, while an android is a robot made to resemble a human. Yet, these distinctions were often ignored, with fully mechanical entities being labeled as cyborgs.

Audiences didn’t mind. The term “cyborg” was electrifying, perhaps because while people might have owned a kitchen appliance at home, no one had one of “those”. VHS shelves sagged under the weight of covers featuring wired musclemen wielding guns amidst explosions and circuits. The word “cyborg” shimmered with metallic allure, evoking fascination for their cold, ruthless efficiency. But despite the popularity, the trend didn’t produce many sci-fi masterpieces. Films like “The Terminator” (about an android, to be precise) and “RoboCop” (about a cyborg) set the gold standard, but most offerings occupied the dark corners of B-grade cinema—sometimes teetering on the edge of C-grade.

Remember those films where karate stars graced cyborg or robot plots? Matthias Hues in “Digital Man” or Don “The Dragon” Wilson in “Cyber Tracker” demonstrated how to fail spectacularly. Robots were often set against post-apocalyptic backdrops, on desolate Earths steeped in death and despair. Such was the premise of “Cyborg”, starring Jean-Claude Van Damme—a low-budget hit shot on urban outskirts, adored by global audiences. Following this path, the creators of “American Cyborg: Steel Warrior” plunged us into a similar dystopia.

The film takes us to a near-future world ravaged by nuclear war. Survivors scrape by in the ruins of devastated cities, plagued by hunger and disease, under the watchful eye of machines that now rule. Humanity no longer poses a threat—being infertile and doomed to extinction. But hope emerges in Maria, the last fertile woman, whose child grows not in her womb but in a jar. Even so, it’s a miracle. Maria must transport the embryo in her backpack through a crumbling city to the port, where the European resistance awaits. Time is short—only a few hours remain before the life-support system fails. Hot on her heels is a deadly machine, immune to pain, fear, or mercy. Her only ally is Austin, a man she encounters along the way. Will he help her complete the journey?

The film was produced by the legendary Cannon Group, known for “American Ninja”, “The Exterminator”, “Cobra”, and “Bloodsport“. Cannon specialized in straightforward, entertaining films, from low-budget (more often) to slightly more lavish productions. Without Cannon, the childhoods of many 30-somethings today would have looked very different.

Maria embodies empathy, sporting the best hair in the film. Her large eyes, teeth, lips, and heart create a harmonious whole. Her savior, Austin, channels a “Mad Max”-style lone wolf who trusts no one, simply striving to survive. “I’m a realist,” he declares. “I’m the only thing that’s real, and I only believe in that.” Portrayed by Joe Lara—known for playing Tarzan three times—Austin lacks charisma but compensates with a rope-swinging stunt.

The villainous cyborg/android isn’t particularly menacing. Sporting a mustache, it growls at times, visibly irritated by Maria and Austin. Essentially, it’s a tool-shop guy playing an android, possibly skilled in karate but shooting comically poorly whenever aiming at the heroes.

The film borrows heavily from “Mad Max”, “Cyborg“, “Blade Runner“, and of course, “The Terminator”. From dimly lit, damp settings to messianic themes, director Boaz Davidson serves a cocktail of familiar visuals and tropes. The narrative echoes stories of refugees seeking salvation for a child of great significance, with Austin and Maria overcoming numerous trials.

Set against industrial ruins, rubble, and sewers, the film’s post-apocalyptic world is convincing enough. Special effects, while low-budget, get the job done—featuring plenty of gunfire, explosions, and continuous action. The love story develops on the run, as Maria and Austin grow closer while dodging the mustachioed android’s attacks.

At its core, “American Cyborg” offers a dramatic, almost mystical tale of survival and hope. Davidson, known for bawdy comedies like “Lemon Popsicle”, shifts gears to deliver a story about higher emotions and grander challenges. Themes of love, fertility, and humanity’s resilience shine through, making the film a surprising emotional ride.

Though low-budget, “American Cyborg” reminds us that action films can still deliver strong emotions. It’s not just “Terminator” or “RoboCop” that define the genre. If you’re not moved during this movie, you might just be a machine yourself.