Hardware

First-time director Richard Stanley, adapting a comic story by the Steve MacManus/Kevin O’Neill team (“Shok!” 1981), brings to the big screen a fine example of post-apocalyptic sci-fi characterized by an extremely personal directorial style. Despite a rather meager budget, “Hardware” succeeds in its modest undertaking of presenting a worthy representation of a squalid reality dominated by decay and confusion, a world where dirty, revolting characters wander around with physical and mental impairments caused by the teratogenic effects of radioactive pollution.

To better depict the reigning anarchy of such a dystopic future, the South African director cultivates a distinctly cyberpunk esthetic. Highly interesting elements of the film include evocative art direction, distinctive use of color (red filters and warm tones vividly depict the scorching heat of the sweltering, dusty climate), and dazzling editing.

Among apocalyptic touches – Biblical references and symbolism abound – and moments marked by a semi-experimental surrealism, a deep-seated pessimism that sees mankind as the root cause of its own ills shines through (keep in mind that the MARK-13 isn’t the classic android gone mad, but rather a military weapon intentionally programmed to kill).

Worth another look.