The best of times element regarding the Warner Archive September 18, 2018 Blu-ray release of the 1981 Michael Crichton scifi thriller "Looker" is that this chance to see this prime example of late '70s and early '80s lurid noir is a real treat. The worst of times element is Archive making rare gaffes in the presentation of the film.
The first odd choice of Archive is not at least offering the option of watching the network broadcast version of "Looker" that includes an eight-minute deleted segment that is a Blu-ray extra. Archive typically provides an alternative version option in these cases, Additionally, this segment includes the always entertaining villain monologue that ill-advisedly reveals the evil scheme to the hero, who invariably escapees in the next scene.
The other arguably bad choice is not providing the option of watching the modern introduction by Crichton. This spoiler-free statement puts "Looker" in good context.
The most cool thing about "Looker" is that it is a film that both perfectly reflects its time in style and content and is ahead of its time in portraying what evolves from the tech. and the marketing of the dawn of the computer era. This is not to mention the element of weaponizing television.
The underlying concept of seeking absolute perfection for fun and profit is as solid as much of the science that pursues it in the film. Additionally, the collateral damage in the form of the deaths that trigger the central events fall within the range of possibility regarding this type of film. The flawed execution in the form of framing plastic surgeon Larry Roberts (Albert Finney) enhances the entertainment at the expense of credibility.
The underlying '70s wealthy husband-and-wife procedural "Hart to Hart" style premise is that three of four gorgeous television commercial models whom Roberts put under the knife die via a car accident or apparent suicide, The other common element is that these "It" girls consult Roberts at the recommendation of the tech. marketing firm Digital Matrix. The similarities continue with the procedures calling for very minor alterations. Having Roberts explain that he agrees to do the surgeries to avoid the girls resorting to quacks establishes him as a good guy.
The third death literally brings police detective Lieutenant Masters to the door of Roberts, This prompts Roberts to simultaneously begin investigating the crimes and to take former patient Cindy (real-life model Susan Dey) under his wing to help her avoid getting her killed in this year's model from Detroit,
The first not necessarily nefarious plot that Roberts discovers is that legitimate businessman John Reston (James Coburn) and Digital Matrix executive Jennifer Long (Leigh Taylor-Young) are teaming up to create the perfect spokesmodel to appear in commercials. The realized futuristic element is this including CGI.
The really goofy part enters the picture (pun intended) as Roberts learns of the progress of Reston and Long regarding using television to get the EXACT desired response from viewers. The social commentary includes reaching a point of essentially turning sofa spuds into zombies.
Roberts approaching the truth prompts arming muscle with thoroughly goofy tech, and sending that hired gun after our hero. Of course, Cindy literally is in tow until she almost as inevitably handcuffed to a railing. One spoiler is that she does not break a heel during a chase,
The final battle awesomely incorporates every element of "Looker" and includes plenty of dark-humor laced social commentary. The numerous rude awakenings are one of the best aspects of this film.
The additional prophetic element is making television a critical element of presidential elections. This shows that Crichton gets it right regarding how far we come even after the flop sweat of Nixon is a large factor in the 1960 presidential election and Bill Clinton profits from playing the saxophone on "Arsenio Hall" in 1992.
The bigger picture is that this good blending of elements achieves the scifi ideal of good creativity and a morality tale,
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