Nemesis 4: Cry of Angels (1999)
Nemesis 4: Cry of Angels (1999)

Genre: Sci-Fi Thriller Running Time: 1 hr. 20 min.

Release Date: April 27th, 1999 MPAA Rating: R

Director: Albert Pyun Actors: Sue Price, Andrew Divoff, Blanka Copikova, Nicholas Guest, Simon Poland, Juro Rasla, Norbert Weisser, Michal Gucik

 


 

B

y the year 2080 A.D., the war between cyborgs and humans is essentially over. Both sides live in an uneasy peace, with many former soldiers drifting into working for the global crime syndicates that rose up after the dust settled. Alex Sinclair (Sue Price) is one such hired assassin. When a corrupt priest in Mexico uses his church to smuggle drugs for the local cyborg bosses, then dips into the shipments for extra profits of his own, Alex is tasked with extracting a confession – and then executing the thief.

Back in New York City, the chiefly robotic taskmaster Bernardo (Andrew Divoff) gives cyborg killer Alex her new assignment. Although she’s been obsessed with working out, which morphs her body into a massively muscular form that can no longer blend in with her surroundings, she’s nevertheless chosen for a final mission specifically because the target, Gilberto, is a weird, kinky hybrid, always looking for peculiar hookers. Alex travels to the postapocalyptic wasteland of Zagrev, Eastern Europe, where she dispatches the subject (by squashing his torso with her powerful legs), before reporting back to handler Earl Typhoon (Nicholas Guest). But the watchdog contact, convinced that Alex has killed the wrong man, has a job of his own – to murder her in return. As Alex’s allies become enemies, she realizes that no one can be trusted, especially when a $100 million bounty is put on her head by Carlos Massimo Sr., head of the Brazilian cartel.

The film is Rated R for “bizarre sexuality,” which is certainly an uncommon notation from the MPAA. But its meaning quickly becomes apparent as Sue Price spends most of the swift running time naked and injured, revealing mutilated cybernetic flesh, while also perpetually ready for spontaneous sexual acts. Director Albert Pyun clearly has a female bodybuilder fetish, instructing Price to pose partially nude randomly and frequently, with extra gratuitous and out-of-place close-ups of exposed body parts – or Price lifting weights while au naturel. And characters have sex for no reason, using surgically-integrated mechanical appendages for additional stimulation. Ludicrously, Alex even uses unexpected nakedness to startle her opponents (in one spectacularly obnoxious scene, she gets the better of hitman Tokuda the Oscillator, played by Norbert Weisser, by swiveling around in a chair to reveal bare skin.

“Nemesis 4,” also known as “Nemesis: Death Angel” and “Nemesis 4: Cry of Angels,” is a continuation from “Nemesis 2: Nebula” and “Nemesis 3: Time Lapse,” all starring Sue Price and following along a loosely related premise. Quite oddly, episodes 2-4 have nothing to do with the original “Nemesis” film from 1992, which is also directed by Albert Pyun. Here, the editing is so pitiful that the title “Cry of Angels” is shown not once, not twice, but three times: before and after the opening scene and again before the end titles roll. The initial credit sequence is spliced with footage from the two previous movies (which look like marginally more interesting ventures, though they also scream of low budgets, convoluted plots, and amateurish scripting), while the end credits contain replayed shots of the film that just concluded.

Additionally, the dialogue is hilariously nonsensical, full of jargon and references to a storyline that is woefully underdeveloped. Alex continually murmurs about angels and a mysterious woman in black, played by Blanka Copikova, while conveniently phoning associates with whom she has history to introduce more roles – with which audiences will undoubtedly be unfamiliar. And the exchanges are delivered carelessly and unconvincingly by enormously mediocre actors. Makeup effects are just as terrible, utilizing vivid paint, rubbery prosthetics, and repeated shots (along with animated lightning bolts) for gore and bloodshed. Two characters have hands that metamorphose into phony claws, while Alex uses large needles hidden in her nipples to gouge the eyes of antagonists. It’s actually remarkable that three feature-length movies were made and marketed (though straight-to-video) using such limited resources and piteous concepts.

– Mike Massie

  • 2/10