HottWwjdIam There is just so much movie here. For some it may be too much. But in the same secretly sarcastic way most telemarketers say the phrase, the title of this one is particularly apt.

Kodie Bird True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

Rio Hayward All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Brennan Camacho Mostly, the movie is committed to the value of a good time.

lost-in-limbo At least it doesn't live up to its title, which is a good thing. Crash and burnnnnnn. On the other hand it might have been more exciting if it did. I don't know, but I remember liking this straight-to-video b-grade action / Sci-fi fare by Charles Band when I saw it for the first time many moons ago, but upon my recent re-watch I was left slightly under whelmed. Boy did it take awhile for something remotely riveting to occur. My excitement early on arose from catching a glimpse of a movie poster of "The Angry Red Planet" on the wall. Not once, but twice. Outside a pouting Megan Ward and Jack McGee (in a truly offensive mood), everyone else acts robotic. Is this to throw us off…? I don't think so. Bill Moseley is the life of the party… as what starts off as uncharacteristic (in a slumber mood) later on has you thinking now I'm watching Moseley perform. Paul Ganus is your typical handsome, but stoic lead who catches the eyes of the ladies (young and old). He doesn't do much at first, other than look serious. All in a good days work. Actually I guess sex was on mind. Nothing else. Nothing more. As after getting that out of the way (about mid-way through the movie), while lying in bed (for about 10 seconds) his character was thinking straight (well its either that or he's considerably slow off the blocks) and it came to him that something wasn't quite right (during a "heart-pounding" test set-up to find out if everyone trapped in this remote TV station was who they said they were). Now that he knows who the evil corporate Sythnoid robot in disguise is. Although we the audience (and Ward) have already figured that out long ago. It's time to be a hero. Jump out of bed, break the emergency glass and grab the shotgun. Then get pummelled and shot. Talk about an effective hero. However this is when things do liven up. Nasty jolts, stupid one-liners, robots going haywire and Ward making everyone around her look like dummies. "Hey, kiss this!". Director Charles Band does an economical job with J.S Cardone's material and recycles Richard Band's music talents. Visually is works cementing a futuristic wasteland, as the setting is taut and the paranoid unease is felt. In the dying stages you can see where most of the money went to and the effects of the battery powered tinbot put those recent CGI drenched transformers films to shame. Mildly amusing low-rent Full Moon fodder.

Woodyanders 2030: In the grim greenhouse effect ravaged future psychotic android Quinn (deliciously played to the fabulously freaky hilt by Bill Moseley; Otis in "House of 1,000 Corpses") kills a few people in a rundown old TV station because grouchy owner Lathan Hooks (a lively, although sadly brief turn by Ralph Waite; the father on "The Waltons") is secretly giving information to a group of underground fighters who are opposed to the oppressive authoritarian Orwellian "1984"-ish government. Although this film suffers a bit from a muddled script by J.S. Cardone (who also wrote and directed the superior "Shadowzone") and occasionally sluggish pacing, "Crash and Burn" still nonetheless rates as an engrossing and entertaining sci-fi action opus thanks to Charles Band's energetic direction, well drawn characters, solid acting from a sturdy cast (the lovely Megan Ward makes for an engagingly spunky heroine while veteran character actor John Davis Chandler pops up in a nice bit as a crusty gas station proprietor), nifty stop motion animation by David Allen, pleasingly grody make-up f/x by Greg Cannom, and a stirring score by the indefatigable Richard Band. Good, modest Grade B fun.

Autlan Big Corp, Unicom, isn't content with controlling the national media and jumps at the chance to regulate all forms of communication. They'll do anything to keep post-apocalyptic rebel groups from linking up and forming a resistance movement. Not falling short of sending infiltration teams to cut down any dissenting bodies.One of the few remaining bastions of free speech, an old industrial plant now housing a T.V station, weathers sand and heat to bring us quality Public Access programming. Unbeknownst to them, Unicom has sent a deadly package.- -This B mech-thriller budgets well. The effects aren't spectacular, but the actors do their best to fill with some great characters. Monstrous mechanoid fans be warned though, the goliath depicted on the cover only appears twice, briefly. The antagonist wears altogether softer soles.

judex-1 I agree that the robot at the end was by far the best thing going on here. It didn't leave for a better movie, it CAME from a better movie in the first place. I've always heard that this had leftovers from "Robot Jox", a Stuart Gordon film that was pretty impressive, despite studio meddling. I believe this brief sequence here, is some of the footage that was cut in the attempt to get "Robot Jox" a PG rating, despite nudity, and abundant violence.