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In the near future, powerful corporations at war with each other over advanced technology development rule over an industrial wasteland. Corporate espionage has reached new heights of infiltration and bloodshed. A convict is offered a second chance at freedom, but there is a catch: he must help a team of corporate thieves steal secret prototype technology from a rival company. With a surgically-implanted camera and data links, he joins the team of thieves to complete the heist. However, the mission is quickly compromised. With no contact to their company, the team is forced to take their stolen prize out in to the lawless industrial sprawl. Savage gangs and corporate death squads are hot on their trail, and even worse, the team must come to grips with the nature of their mission...and the terrifying power of their stolen technology. DVD BONUS FEATURES: Accessing the Feed (Behind the Scenes Featurette)and The Men Who Fell (Trailer for William L. Stewarts earlier feature)
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Top Customer Reviews
The simplest answer (so far as this reviewer is concerned) is that WARS is a feature meant to be about technology: its central characters are on a mission to steal some world-changing device, so why not wrap it all up in a bow nice and neat with yet another technological angle for audiences?
Well, the problem there is that the ‘found footage format’ ends up being little more than a gimmick in Stewart’s hands when, quite frankly, it could’ve / would’ve / should’ve been something more.
2009’s District 9 – writer/director Neill Blomkamp’s SciFi/Satire – utilized the ‘found footage’ set-up by way of a carefully crafted in-person documentary; but even Blomkamp realized that narrative device would only take the audience so far into the ‘heart’ of the film. At a point midway through the feature, the ‘perspective’ approach disappears, and the real story – that of a human finding his identity while becoming something inhuman – begins. The documentarian approach gave the storyteller great ease to establish the parameters of the world in which his characters would play out their grand fable, and – once the foundation was built – the shackles were thrown off.
By comparison, Stewart’s WARS provides the theatrical set-up in its early moments: practically mirroring that which Paul Verhoeven’s ROBOCOP (1987) introduced viewers to the perspective of a half-man-half-machine crimefighter, WARS plays its cards in its first and second reels. But then Stewart proceeds to tell his story by incorporating several other points-of-view, many of which seem curiously unnecessary: so-and-so is shown running down a hallway, while so-and-so’s implant records a ride in an elevator. It’s easy to determine that the heist is in-progress, but so much of what unfolds feels superfluous.
To complicate matters, WARS’ overall story ends up spooling out in occasionally hard-to-hear exchanges between far too many characters, none of whom are developed enough for us about which to care. The benefit to the ‘found footage’ format is that audiences are forced to go along for the ride; but if it isn’t all spelled out in a fashion that makes the trip interesting beyond the format then you end up feeling like you’ve been strapped to a chair and forced to watch an experimental film about God knows what where everything happens whether it’s needed or not. The people don’t matter because you’ve never really met them, so their fates are circumstantial. Come the big finish, you want to care about what happens to these characters you’ve come to know, but that doesn’t happen here, at least not to the point wherein any of it felt authentic.
In the future, the PAC Sinclair company gets a team together to steal the AME 500A prototype weapon from Milicore Industries. They were successful, but get caught by a group living outside corporation control. We discover what the weapon does at 47 minutes into the film, not overly impressive.
The acting was bad. Everyone had an "eye cam" so everything was filmed in first person point of view, i..e. shaky and from a bad angle. It was like watching the worst of "Hardcore Henry." The film was mostly people running around hiding and shooting at each other...adults playing hide n' seek with guns and rocket man helmets.
Guide: F-word. No sex or nudity.