This science-fiction film stars Robert Conrad as Henry Stanton, a retired C.I.A. operative who is persuaded by his former supervisor (Robert Webber) to accept another mission, one in which it is hoped that he may be able to address a problem of a rogue agent, Robert Golem (Richard Young), who is homicidal, with his victims being Agency and high government officials. Stanton is accompanied in his efforts to locate the vicious renegade by another former Agency employee, now one of Golem's targets, Mary Cassales (Karen Austin) who reveals to her new partner that the killer as an almost indestructible robot, designed for assassination purposes, and that she was instrumental in its production. The script, by director Sandor Stern, contains some interesting material, and neatly explains Asimov's three laws of robotics, but elements of romantic love between the two protagonists and between Golem and a smitten woman (Jessica Nelson) seem extraneous, and a point of view is difficult to find throughout. Conrad is most effective during the film's first half, when he is able to use his deceptively simple naturalistic skills, and Austin always contributes a developed interpretation, with only a lack of any sensual chemistry between Conrad and her serving to somewhat hamper the narrative's rhythm. Stern directs well and the work never becomes dull; however, his scenario is rather serried with story lines and he loses his way as the picture moves along, inevitably giving most emphasis to a series of frenetic action scenes, most of which demonstrate the android's superhuman physical talents. Although obviously derivative, the score by Anthony Guefen is effective, and particularly so in connection with scenes meant to generate feelings of suspense, while Chuck Arnold handles the cinematography nicely and there is crisp editing as always by James Calloway.
16 Reviews
Made-for-TV Terminator.
BA_Harrison31 March 2013
This mid-80s made-for-TV sci-fi thriller takes its cues from The Terminator, with a human-like robot assassin, created by a top secret government agency, programmed to kill those on a hit list compiled by its deluded, deceased designer. Ex-agency operative Henry Stanton (Robert Conrad) reluctantly comes out of retirement to try and stop the renegade mechanical menace, aided by attractive robotics expert Mary Casallas (Karen Austin).
Writer/director Sandor Stern is no James Cameron, but he still manages to deliver a fair bit of tension and some hokey fun from the premise, with his murderous machine (effectively played by Richard Young) interfacing with an ATM to extract cash, taking a couple of high dives from several stories up, leaping over moving cars, opening up compartments in his body to modify himself, and even bedding a desperate bar floozy when his mission calls for it (he's anatomically correct and can go for hours on a full charge!).
The plot does get unnecessarily convoluted and clichéd at times, with Henry haunted by his past, developing a relationship with Mary, and discovering that his superior has been hiding a terrible secret, but Stern just about keeps the pace going right up to the hilariously explosive ending.
5.5 out of 10, rounded up to 6 for IMDb.
Writer/director Sandor Stern is no James Cameron, but he still manages to deliver a fair bit of tension and some hokey fun from the premise, with his murderous machine (effectively played by Richard Young) interfacing with an ATM to extract cash, taking a couple of high dives from several stories up, leaping over moving cars, opening up compartments in his body to modify himself, and even bedding a desperate bar floozy when his mission calls for it (he's anatomically correct and can go for hours on a full charge!).
The plot does get unnecessarily convoluted and clichéd at times, with Henry haunted by his past, developing a relationship with Mary, and discovering that his superior has been hiding a terrible secret, but Stern just about keeps the pace going right up to the hilariously explosive ending.
5.5 out of 10, rounded up to 6 for IMDb.
unremarkable
myriamlenys25 September 2022
Warning: Spoilers
An ex-operative is called out of retirement in order to eliminate a loose cannon. The ex-operative is not delighted upon discovering that he is, in fact, chasing a mechanic of the more mechanical kind...
"Assassin" combines at least two genres, to wit the science fiction and the thriller/espionage genre. It's not wholly without interest but it feels flat and average. For good and for evil, the success of this kind of movie tends to depend on the quality of its killer robot. Here, the said killer robot failed to look sufficiently non-human ; it was very difficult to imagine him as a machine mimicking a man, even when he successfully pursued cars or jumped over prodigious distances. If you want to see how this thing should be done, I can refer you to the first "Terminator" movie - of course - or to the first "Westworld" movie. I defy anyone to watch Yul Brynner's black-hatted android in "Westworld" (1973) without feeling a shiver of primeval fear.
Moreover, "Assassin" is not helped along by a subplot about a human operative having been tricked into causing far more damage than agreed upon.
"Assassin" combines at least two genres, to wit the science fiction and the thriller/espionage genre. It's not wholly without interest but it feels flat and average. For good and for evil, the success of this kind of movie tends to depend on the quality of its killer robot. Here, the said killer robot failed to look sufficiently non-human ; it was very difficult to imagine him as a machine mimicking a man, even when he successfully pursued cars or jumped over prodigious distances. If you want to see how this thing should be done, I can refer you to the first "Terminator" movie - of course - or to the first "Westworld" movie. I defy anyone to watch Yul Brynner's black-hatted android in "Westworld" (1973) without feeling a shiver of primeval fear.
Moreover, "Assassin" is not helped along by a subplot about a human operative having been tricked into causing far more damage than agreed upon.
"Do All Of Your Rooms Have Individual Air Conditioning Units?!"...
azathothpwiggins4 September 2021
Ex-government agent, Henry Stanton (Robert Conrad) is brought out of retirement to track down a rogue agent named Golem (Richard Young). Golem is on a murderous rampage, killing with his bare hands and collecting secret data.
Stanton soon discovers that he's not up against a mere man.
Sort of a made-for-TV version of THE TERMINATOR, Conrad is really good in his intrepid role. Young's Golem is fantastic in all of his / its bulletproof, fireproof, virtually-unstoppable glory!
Highly entertaining...
Stanton soon discovers that he's not up against a mere man.
Sort of a made-for-TV version of THE TERMINATOR, Conrad is really good in his intrepid role. Young's Golem is fantastic in all of his / its bulletproof, fireproof, virtually-unstoppable glory!
Highly entertaining...
Fairly unremarkable TV movie influenced by The Terminator
Red-Barracuda19 May 2014
An ex-CIA operative is convinced by his old boss to return to action one last time to help track down a rogue agent who is going around killing people connected with the Agency. The only trouble is that the said agent is seemingly a lethally designed cyborg.
This is a mid-80's TV movie, so it's probably fair to say that expectations should be lowered accordingly. Seeing as it was released in 1986, it's only fair to surmise that it derives much of its influence from the recent smash hit film The Terminator. Obviously, it's a very poor man's Terminator though. But its combination of sci-fi with paranoid political intrigue was not such a bad concoction to be fair. It's delivered with just enough effort to ensure it's watchable. But it's best to accept in advance that the thrills on offer in this one are of the bargain basement variety.
This is a mid-80's TV movie, so it's probably fair to say that expectations should be lowered accordingly. Seeing as it was released in 1986, it's only fair to surmise that it derives much of its influence from the recent smash hit film The Terminator. Obviously, it's a very poor man's Terminator though. But its combination of sci-fi with paranoid political intrigue was not such a bad concoction to be fair. It's delivered with just enough effort to ensure it's watchable. But it's best to accept in advance that the thrills on offer in this one are of the bargain basement variety.
A Poor Man's "Terminator"
zardoz-1325 June 2014
Warning: Spoilers
Robert Conrad doesn't break a sweat "Assassin," a second-rate, contemporary, sci-fi thriller. Neither should you. Retired secret agent Henry Stanton (Robert Conrad) comes out of retirement to save the day on one last assignment. Stanton's old boss Calvin Lantz (Robert Webber) wants Stanton to track down an invincible robot murderer. The catch is that this cyborg killer looks like a flesh and blood human. Indeed, "Assassin" is a lowest common denominator revenge movie with a robot tracking down former agency operatives and killing them with extreme impersonality. Symbolically, writer & director Sandor Stern gives the villain the surname Golem. Historically, the Golem was a Jewish monster sent to protect its people but revolts again them. "Assassin" amounts to a poor man's "Terminator" with few surprises. The cyborg has to recharge itself occasionally and it hides from our heroes while they scour an entire motel to locate it. Meanwhile, Conrad looks like he has packed on the pounds. He doesn't shed his shirt. In his glory days, Conrad always removed his shirt. He doesn't perform any strenuous stunts. He and his leading lady Karen Austin flirt with each other while Conrad's former boss, Calvin (Robert Webber), worries about his own life. Richard Young is okay as Golem. He can imitate voices. He can leap out of windows as long as they are no higher than the sixth floor. Veteran heavy Jonathan Banks plays a suspicious good guy. "Assassin' is abysmal.
For those who haven't been terminated enough.
mark.waltz21 April 2020
Warning: Spoilers
This entertaining but convoluted science fiction thriller is a rip-off of the enormously popular blockbuster Schwarzenegger movie out around the the same time. This dealis with a robot assassin who looks and acts exactly like a human being in every way, except that somewhere in his human like flesh, there is a program inside for him to kill whoever his programmers assigned him to go after. Robert Conrad and Karen Austin team together as a federal agent and a college professor (who used to be an agent but resigned when the robots play by Richard Young was created), and of course romance strikes up as they try to stop Young from achieving his goal reaching target Robert Webber.
Along the way, the robotic young manages to find romance (yes, apparently robots can make love!), Leading to a very silly scene where Jessica Nelson as his pickup makes a hysterical observation, comparing him to the other guys she's dated. This is surprisingly violent for a television movie, featuring quite a few shootings and explosions, and definitely one that must have had a mature audience warning. The script is silly but the pacing makes up for that, never letting its audience breathe for a moment. Those who consider "The Terminator" a classic will find this basically an insignificant rip-off, but if you just go in looking at the movie for its entertainment value, you won't be disappointed, although chances are you won't remember it long afterwards.
Along the way, the robotic young manages to find romance (yes, apparently robots can make love!), Leading to a very silly scene where Jessica Nelson as his pickup makes a hysterical observation, comparing him to the other guys she's dated. This is surprisingly violent for a television movie, featuring quite a few shootings and explosions, and definitely one that must have had a mature audience warning. The script is silly but the pacing makes up for that, never letting its audience breathe for a moment. Those who consider "The Terminator" a classic will find this basically an insignificant rip-off, but if you just go in looking at the movie for its entertainment value, you won't be disappointed, although chances are you won't remember it long afterwards.
Canadian Terminator
BandSAboutMovies17 November 2020
Warning: Spoilers
Henry Stanton (Robert Conrad, try to knock a battery off his shoulder ) is a retired agent from an intelligence agency not to be named that is brought back in when a top-secret robot named Robert Golem (Richard Young, the man who gave Indiana Jones his fedora) begins killing government officials. He'll have help from an old flame named Mary (Karen Austin, Case of the Hillside Stranglers, Fantasies) and he'll need it, because Golem is unstoppable.
With a tagline like "Exterminate with extreme prejudice," you know that this movie is totally remaking Terminator. It originally aired on CBS on March 19, 1986, two full years after Cameron's Outer Limits pastiche played theaters*.
This was written and directed by Sandor Stern, who wrote the original The Amityville Horror and wrote and directed Amityville Horror: The Evil Escapes and one of my favorite blasts of sheer Canadian craziness, Pin.
It's a TV version of a blockbuster, so there's not much here, but there is a moment where the villain uses an iron to close up his bullet holes before making sweet, sweet love to a woman he meets in the hotel. But hey, if you grew up on 70's TV and thought Robert Conrad was the toughest man alive - he used to get enraged at teammates on Battle of the Network Stars who didn't go all out - then you might like this.
*I say this because that movie owes plenty to Harlan Ellison. As the story goes, Harlan saw the movie, called Orion Pictures up about the theft and was dismissed by them. But Ellison knew screenwriter and producer Tracy Torme, who had told Ellison before the movie even came out that he had visited the set of the film and when he asked where he got the idea, Cameron said, "Oh, I ripped off a couple of Harlan Ellison stories." Cameron also told the same thing to Starlog, but the magazine edited out the comments after a call from producer Gale Anne Hurd. As for Cameron, he'd later say, "Harlan Ellison is a parasite who can kiss my ass." I'm shocked that he didn't get sued again by the man who won a lawsuit against Marvel once that gave him one copy of everything they published; he would write them nearly every month asking why he hadn't received the most minute of products.
With a tagline like "Exterminate with extreme prejudice," you know that this movie is totally remaking Terminator. It originally aired on CBS on March 19, 1986, two full years after Cameron's Outer Limits pastiche played theaters*.
This was written and directed by Sandor Stern, who wrote the original The Amityville Horror and wrote and directed Amityville Horror: The Evil Escapes and one of my favorite blasts of sheer Canadian craziness, Pin.
It's a TV version of a blockbuster, so there's not much here, but there is a moment where the villain uses an iron to close up his bullet holes before making sweet, sweet love to a woman he meets in the hotel. But hey, if you grew up on 70's TV and thought Robert Conrad was the toughest man alive - he used to get enraged at teammates on Battle of the Network Stars who didn't go all out - then you might like this.
*I say this because that movie owes plenty to Harlan Ellison. As the story goes, Harlan saw the movie, called Orion Pictures up about the theft and was dismissed by them. But Ellison knew screenwriter and producer Tracy Torme, who had told Ellison before the movie even came out that he had visited the set of the film and when he asked where he got the idea, Cameron said, "Oh, I ripped off a couple of Harlan Ellison stories." Cameron also told the same thing to Starlog, but the magazine edited out the comments after a call from producer Gale Anne Hurd. As for Cameron, he'd later say, "Harlan Ellison is a parasite who can kiss my ass." I'm shocked that he didn't get sued again by the man who won a lawsuit against Marvel once that gave him one copy of everything they published; he would write them nearly every month asking why he hadn't received the most minute of products.
Oh my
SanteeFats4 May 2014
Warning: Spoilers
Man this had so many actors that I was familiar with that I thought this would a decent movie, well not so much. It is pretty trite and the plot line is easy enough to figure out. A retired agent (Conrad) is lured out of retirement to pursue, wait for it, a robot assassin. This robot is targeting a list of assassination targets since his maker has died. Karen Austen plays Mary Casallas as the female lead and of course she ends up becoming Conrad's love interest down the line, she is an agent who worked with the robot designer when he was designing and building the robot. They finally find the journals the scientist has left behind in a hidden storage unit. Using the information obtained from the journals and Mary's insights They eventually trap the robot in a sealed room where he self destructs.
Enjoyable & Engaging Cyberpunk Effort
Steve_Nyland31 July 2020
Robert Conrad is called out of retirement by screenwriters who saw at least the opening ten minutes of "Firefox" to stop a man-made killing machine named Robert Golem and played by character actor Richard Young. He's good. Aiding Conrad in his mission are a fetching lady cybernetics expert who helped devise Mr. Golem and several gleefully corrupt CIA agents who excel in not comprehending Golem's one purpose to exist, which is to kill people. Referring to the film as a "Made for TV Terminator" is about right, with the premise of a scientist who programs a hit-list of everyone he can't stand prior to offing himself not outside the realm of possibility even if the robot currently is.
He's some robot too, the tall dark handsome type, which makes sense. Why craft an ugly android who can't function socially? and if you ask me he is the most interesting character in the movie. Standout scenes include a one-night stand with a Linda Hamilton lookalike, leaping from various buildings to land on his feet, straighten his tie and amble off into the night, and a bizarre scene where he hacks an ATM with a greasy haired street punk looking on. He gives the kid a mocking raised eyebrow before sauntering away with his cash, demonstrating that he was also programmed to have at least a vestigial sense of humor. I'd hit the bars with him.
Others may disagree but I find the movie to be an engaging passable timekiller, with some decent action scenes, a healthy body count and an interesting perspective on how unelected government officials often regard the elected ones as obstacles to their wishes to govern the way they'd prefer. Gives one reason to pause in the Pandemic Age about whose line to believe, with scientists or physicians serving as pawns for those who are determined to play by their own rules. Conrad makes a decent lead, even getting the Girl in the end, with the robot's inevitable demise a marvelous laugh-out-loud moment for those who wonder how such things might take place. Easily found on YouTube or any number of bargain-bin DVD movie collections, which is where it likely belongs.
He's some robot too, the tall dark handsome type, which makes sense. Why craft an ugly android who can't function socially? and if you ask me he is the most interesting character in the movie. Standout scenes include a one-night stand with a Linda Hamilton lookalike, leaping from various buildings to land on his feet, straighten his tie and amble off into the night, and a bizarre scene where he hacks an ATM with a greasy haired street punk looking on. He gives the kid a mocking raised eyebrow before sauntering away with his cash, demonstrating that he was also programmed to have at least a vestigial sense of humor. I'd hit the bars with him.
Others may disagree but I find the movie to be an engaging passable timekiller, with some decent action scenes, a healthy body count and an interesting perspective on how unelected government officials often regard the elected ones as obstacles to their wishes to govern the way they'd prefer. Gives one reason to pause in the Pandemic Age about whose line to believe, with scientists or physicians serving as pawns for those who are determined to play by their own rules. Conrad makes a decent lead, even getting the Girl in the end, with the robot's inevitable demise a marvelous laugh-out-loud moment for those who wonder how such things might take place. Easily found on YouTube or any number of bargain-bin DVD movie collections, which is where it likely belongs.
Made-for-TV Terminator
Leofwine_draca22 July 2015
Warning: Spoilers
In the mid 1980s, the world of science fiction found itself heavily inspired by the winning formula that was THE TERMINATOR. Thus, a fair few projects actually managed to get some (cheap) funding to make their own variations on the theme. ASSASSIN is one such film, a thriller which by its very nature needs to be violent but which finds itself restricted due to the television-movie format. The far too simplistic plot line sees a renegade scientist create a robot which looks like a man and then set it on a mission of assassination again all of the people he doesn't like. This is how deep the film gets with only a couple of barely surprising twists thrown in to enliven the mixture.
This is a television movie that feels very much like a television movie. Namely, an emphasis on talk, talk and more talk, lots of sentimentality and romantic sequences which feel like they belong on a soap. The science fiction aspects are kept to a bare minimum, so don't go expecting any amazing special effects because there simply aren't any. Instead, Asimov gets quoted, and the robot falls in love and makes love to a woman in an exceptionally clumsy sub-plot which humanises the monster at the expense of creating a scary menace. Richard Young, playing "Robert Golem" (you can tell whoever thought up that name thought they were being really clever) is just a blank space as the robot, neither convincing nor unconvincing. He certainly doesn't possess any on screen presence and he just looks like a normal guy, not the superhuman monster that Schwarzenegger was.
The soapy leads are taken by Robert Conrad and Karen Austin, whose developing relationship serves to slow things down even further. Not exactly good news. The acting is television level and nobody impresses with their performance. The various action sequences are lacking in imagination and often get repetitive, with the robot being shot and then jumping out of a window more times than I care to remember. Even the finale is ludicrously unrealistic and the film as a whole has more than its fair share of contrivances and gaping plot holes. Generally it's a waste of time and talent and nothing compared to the classic which "inspired" it.
This is a television movie that feels very much like a television movie. Namely, an emphasis on talk, talk and more talk, lots of sentimentality and romantic sequences which feel like they belong on a soap. The science fiction aspects are kept to a bare minimum, so don't go expecting any amazing special effects because there simply aren't any. Instead, Asimov gets quoted, and the robot falls in love and makes love to a woman in an exceptionally clumsy sub-plot which humanises the monster at the expense of creating a scary menace. Richard Young, playing "Robert Golem" (you can tell whoever thought up that name thought they were being really clever) is just a blank space as the robot, neither convincing nor unconvincing. He certainly doesn't possess any on screen presence and he just looks like a normal guy, not the superhuman monster that Schwarzenegger was.
The soapy leads are taken by Robert Conrad and Karen Austin, whose developing relationship serves to slow things down even further. Not exactly good news. The acting is television level and nobody impresses with their performance. The various action sequences are lacking in imagination and often get repetitive, with the robot being shot and then jumping out of a window more times than I care to remember. Even the finale is ludicrously unrealistic and the film as a whole has more than its fair share of contrivances and gaping plot holes. Generally it's a waste of time and talent and nothing compared to the classic which "inspired" it.
A cool made-for-TV sci-fi/action flick
Woodyanders17 July 2008
Warning: Spoilers
Rugged former secret government agent Henry Stanton (a fine performance by Robert Conrad) gets called out of retirement by the agency he used to work for to stop crafty, lethal and resourceful renegade cyborg assassin Robert Golem (nicely essayed with smooth intensity by Richard Young). Shrewd'n'sassy scientist Mary Casallas (winningly played by the fetching Karen Austin) helps Stanton out. Writer/director Sandor Stern relates the involving plot at a snappy pace, develops a good deal of tension, stages the action scenes with considerable aplomb, and further spices things up with a slyly amusing sense of deadpan humor. Conrad and Austin display a pleasingly casual and engaging rapport as the likable lead characters; they receive excellent support from Robert Webber as Stanton's huffy, slippery superior Calvin Lantz, Jonathan Banks as Lantz's steely partner Earl Dickman, Jessica Nelson as alluring, unsuspecting barroom pick-up Ann Walsh, and Nancy Lenehan as Mary's steady gal pal Grace Decker. Moreover, the violence is surprisingly rough and brutal stuff for a made-for-TV feature. Chuck Arnold's polished cinematography does the trick while Anthony Guefen supplies an effectively groovy'n'moody score and the special effects are pretty nifty and convincing. A neat little item.
Espionage, Cyborgs & '80s Charm: 'Assassin' - A Hidden TV Gem
P3n-E-W1s322 November 2023
Story: 1.25/2 - Direction & Pace: 1.25 & 1.25/4 - Performance: 1.25/2 - Entertainment: 1.25/2
Total - 6.25/10
"Assassin," a precious relic from the golden age of TV movies, brings forth a heady concoction of spy intrigue and sci-fi zing, akin to the diplomatic clash of two distinct genres at a quirky drive-in cinema. Picture yourself in the mid-eighties: A lovely time when lustrous hair was big, and TV effects were typically somewhat more modest.
Our fantastic tale unfurls in a world where assassins, red tape, and cyborgs collide in a whirlwind of procedural pandemonium. A shadowy figure, not your average assassin, roams the agency's halls and government chambers, wreaking havoc like a bull in a china shop, albeit a cybernetic one. The crème de la crème of retired operatives is recalled to action, much like a reunion of veteran heroes pulled back for one last tango in the espionage dance. But hold your horses; this cyborg isn't one to be pigeonholed by mere programming.
The ingenious plot, a labyrinthine maze of deft twists and violent turns, carefully unfolds like a skilled magician's reveal, teasing revelations one breadcrumb at a time. Moreover, it's like a favourite old card trick; you admire the sleight of hand, even if you've witnessed it before. However, the beauty lies in the execution, mirroring the precision of the cyborg's window-jumping antics - sharp, effective, and depositing you on the edge of your seat.
Directorial finesse elevates this TV movie beyond its small-screen limitations, graciously offering a unique spectacle that bellows "big budget" with every well-choreographed leap. Sure, the effects might typically draw a chuckle from modern audiences accustomed to CGI wonders, but remember, this was the classic era of VHS and neon leg warmers.
The ensemble cast shines a constellation of talent without a solitary star outshining the rest. This humility serves the story well, focusing on the riveting narrative where intrigue reigns supreme.
"Assassin" is the perfect Sunday night caper or a rainy afternoon escapade, a rare blend of creative intellect and chuckles wrapped in a cyborg's enigmatic cloak. While its ending might not raise eyebrows, its journey is a rollercoaster of realism and astute wit. Take a seat, prepare for an '80s throwback and embrace this thrilling ride - an overlooked gem well worth unearthing from the annals of television lore.
Total - 6.25/10
"Assassin," a precious relic from the golden age of TV movies, brings forth a heady concoction of spy intrigue and sci-fi zing, akin to the diplomatic clash of two distinct genres at a quirky drive-in cinema. Picture yourself in the mid-eighties: A lovely time when lustrous hair was big, and TV effects were typically somewhat more modest.
Our fantastic tale unfurls in a world where assassins, red tape, and cyborgs collide in a whirlwind of procedural pandemonium. A shadowy figure, not your average assassin, roams the agency's halls and government chambers, wreaking havoc like a bull in a china shop, albeit a cybernetic one. The crème de la crème of retired operatives is recalled to action, much like a reunion of veteran heroes pulled back for one last tango in the espionage dance. But hold your horses; this cyborg isn't one to be pigeonholed by mere programming.
The ingenious plot, a labyrinthine maze of deft twists and violent turns, carefully unfolds like a skilled magician's reveal, teasing revelations one breadcrumb at a time. Moreover, it's like a favourite old card trick; you admire the sleight of hand, even if you've witnessed it before. However, the beauty lies in the execution, mirroring the precision of the cyborg's window-jumping antics - sharp, effective, and depositing you on the edge of your seat.
Directorial finesse elevates this TV movie beyond its small-screen limitations, graciously offering a unique spectacle that bellows "big budget" with every well-choreographed leap. Sure, the effects might typically draw a chuckle from modern audiences accustomed to CGI wonders, but remember, this was the classic era of VHS and neon leg warmers.
The ensemble cast shines a constellation of talent without a solitary star outshining the rest. This humility serves the story well, focusing on the riveting narrative where intrigue reigns supreme.
"Assassin" is the perfect Sunday night caper or a rainy afternoon escapade, a rare blend of creative intellect and chuckles wrapped in a cyborg's enigmatic cloak. While its ending might not raise eyebrows, its journey is a rollercoaster of realism and astute wit. Take a seat, prepare for an '80s throwback and embrace this thrilling ride - an overlooked gem well worth unearthing from the annals of television lore.
YAWN! A Real Bore
Rainey-Dawn14 November 2016
A lame TV movie version of Terminator - sorta. We have a robot that looks human that goes around killing people he's programmed to kill. And it's a very boring film. Mainly a bunch of talk with some action scenes thrown in for some so called excitement.
I have no clue as to the type of film they used to film this movie with but it looks dark and dirty, just dingy looking. A drab film quality to go with a drab story - I guess it works well together.
This is not a film that Terminator fans should seek out - it's not nearly as exciting nor is it a quality film like Terminator. Instead it's just a lame, boring made for TV movie. If you miss this one, you aren't missing anything at all but some ugly 1980s hairstyles and clothing.
1/10
I have no clue as to the type of film they used to film this movie with but it looks dark and dirty, just dingy looking. A drab film quality to go with a drab story - I guess it works well together.
This is not a film that Terminator fans should seek out - it's not nearly as exciting nor is it a quality film like Terminator. Instead it's just a lame, boring made for TV movie. If you miss this one, you aren't missing anything at all but some ugly 1980s hairstyles and clothing.
1/10
Mostly boring
janoch22 March 2004
Warning: Spoilers
SPOILER WARNING!
I thought this movie was Programmed To Kill (it was named so over here) a movie which is generally acknowledged to be so horrifyingly bad it's good. I like bad movies, but this... It is very pointless but still quite professionally done :-( The only "highlights" were the nice 50's-style computers, the totally unemotional one-face acting by Robert Conrad and the ultra-cheesy ending. Everything else was simply pointless, boring and predictable.
Watching this movie was mostly just a big waste of time. Not recommended to anyone.
I thought this movie was Programmed To Kill (it was named so over here) a movie which is generally acknowledged to be so horrifyingly bad it's good. I like bad movies, but this... It is very pointless but still quite professionally done :-( The only "highlights" were the nice 50's-style computers, the totally unemotional one-face acting by Robert Conrad and the ultra-cheesy ending. Everything else was simply pointless, boring and predictable.
Watching this movie was mostly just a big waste of time. Not recommended to anyone.
a collection of bad men and women
sandcrab2779 January 2018
Warning: Spoilers
I don't like sci-fi and i especially don't like the players in this blown up piece of garbage pretending to be a movie...every cia agent looks exactly like the typical criminals in other films and tv shows...where the heck is jack armstrong...oh, perhaps its james west, ie; robert conrad...if so he didn't pull it off...much like most of the work in his compendium...it dragged on and on and on until i finally quit watching and slept like a log
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