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Hardware

Hardware

Horror · Science Fiction · Thriller · 1990

Mark 13 is a government-built killing machine programmed with artificial intelligence, able to repair and recharge itself from any energy source. Through a series of coincidences, the cyborg's head ends up in the home of a sculptress as a bizarre Christmas present from her boyfriend. Once inside its new home, the cyborg promptly reconstructs the rest of its body using a variety of household utensils and proceeds to go on a murderous rampage.

Movie details

Hardware

“You can't stop progress.”

1990 Horror · Science Fiction · Thriller 1h 34m

Critical arithmetic

One number, for now.

TMDB

5.9 / 10

Community rating

Mark 13 is a government-built killing machine programmed with artificial intelligence, able to repair and recharge itself from any energy source. Through a series of coincidences, the cyborg's head ends up in the home of a sculptress as a bizarre Christmas present from her boyfriend. Once inside its new home, the cyborg promptly reconstructs the rest of its body using a variety of household utensils and proceeds to go on a murderous rampage.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Hardware?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Richard Stanley

Written by

Richard Stanley

Dylan McDermott

Dylan McDermott

Moses "Hard Mo" Baxter

Stacey Travis

Stacey Travis

Jill

John Lynch

John Lynch

Shades

William Hootkins

William Hootkins

Lincoln Wineberg Jr.

Carl McCoy

Carl McCoy

Nomad

Iggy Pop

Iggy Pop

Angry Bob

Mark Northover

Mark Northover

Alvy

Court is in session

Put Hardware on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Prestige Tourist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.