Jornada à Delta 3

What if, just before filming STAR WARS, George Lucas had put his head in a microwave oven and boiled his own brain? Well, this movie answers that question.

From the awesome "technology" on display, to the ultra-fantabulous costumes, THE SHAPE OF THINGS TO COME is a supreme, intergalactic miscarriage.

Jack Palance plays the megalomaniacal Omus, spending most of his screen time either smirking or looking dangerously constipated. Omus wants to dominate the Earth and the Moon through his wobbling army of trashcan killbots (aka: ornery traffic barrels).

Nicholas Campbell is Jason, a sort of stunned Luke Skywalker on Lithium. Carol Lynley stars as Niki, who must lead her small, red-suited resistance troops against Omus and his robo-dork brigade.

Ultimately, following the "plot" is pointless. It's best to simply allow the movie to wash over you like the creeping shadow of death.

FOR ADDED HILARITY: #1- Groove to the infinite wisdom of the spherical uber-computer, Lomax! #2- Listen to the eloquence of Sparks, the poetry-spouting robot!...

I too, saw this excuse for a movie in theaters expecting it to be a remake of the 1936 classic. Talk about major lunch-bag let down! The only worth while event of sitting through this insult was listening to the wise-cracks and jocularities coming from the audience. Watching Barry Morse (a fine actor) humiliate himself with contortionistic facial expressions related to an attack of hemorrhoids was laughable! Jack Palance(another fine actor)didn't fair any better with his army of robots looking like walking garbage cans! All in all a complete waste of time. Possibly twenty years from now this might become a cult classic or mercifully disappear out of cinematic history!

Makes a great double feature of bad films paired with Space Mutiny(1988)or Starship Invasions(1977). I remember there being some hype for this film in Starlog and other genre mags of the time, and that Barry Morse was headlining it(along with Jack Palance and Carol Lynley) and that Sylvia Anderson(Space:1999, UFO) was producing it and involved in aspects of the design. Well, Anderson walked early on, signing herself off it, but not after signing on Barry Morse from her Space:1999 haunts, to star in this. The film was to be made in Canada and, to feature some "top line" visual effects and miniatures by Brick Price.It's ghastly from the get-go. A disco-inspired theme song opening the show(this was 1979) and we go to a moon base which just happens to be a futuristic(then)office building outside of Toronto and we're told in that casual, expository way, that the "earth-like" conditions outside the windows, complete with clouds and trees, are all inside a dome with a "sunsphere" providing a familiar view for the people inside. How convenient. Barry Morse puts on an American accent for this, not his familiar grandfatherly British accent. Jack Palance plays "Omus" an evil kind of guy(he played the same kind of "evil guy" in an episode of Buck Rogers about the same time) who has these walking-garbage can robots who look totally ridiculous and awkward. He also laughs, for no apparent reason only that he's amazed himself, which isn't hard. All of the costumes of the young people look like they just roller boogied to the moon. The same corridor is used again and again for "chase" scenes-they just change directions. The miniatures are pretty bad-fighters that have model parts of the "K-7 Space Station" on the front end. The FX work is largely some glitzy animation that's passable at first, but just gets more annoying. Landing on another planet, it looks just like some empty lot or tract of land in Canada. Supposedly this was to be a much more ambitious production, with Mike Trim having done some production drawings and miniatures made in England-that all went when Sylvia Anderson walked off it. In fact, that's what Morse was led to believe when he signed on. (I read where he said he was taken aback at the cheapness of everything, but honored his professional commitment and did his job and finished it, as he agreed to do.) Harry Allan Towers (no slouch at cheap films)came in and the quality was replaced by the thrift of just getting the film done. I admit I was pretty shocked it was so low-budget. I'd accepted that it was a Canadian film, for the time, and figured it would be lower end, but this took the cake.

A sci-fic movie that is both loved and hated by the public.

Okay, if you go into this expecting something that even comes close to the magic of Things To Come (1936) - you will hate it! This is basically a mix of two 70s TV shows titled Space 1999 and Doctor Who. In fact, the production values very much look like a TV show rather than a movie.

This is the sort of movie you might wish to return to with repeat viewings as the whole cast (main cast, support cast) have great appeal. There is even a moment where a robot takes a weird liking to a cute female cast member - enough said. I think there is a Luke Skywalker-type young guy here? Jack Palance and Barry Morse are outstanding as always.

The story has several holes in it (as did Space 1999) but the name of the game is to just have fun and don't think about the lack of logic in the thing.

Like many here, I have a huge respect for the Things to Come (1936) movie but if you totally forget that film, and view "Shape" as something totally different (despite the title), you might just like it.

What's most striking about this hilariously awful film is that someone actually thought that it was worth putting up money to make it. Two years after Star Wars and Close Encounters, someone actually felt that terrible dialogue and direction foisted upon decent actors like Jack Palance and Barry Morse, special effects out of a high school film class, a cheesily overwrought synthesizer score, and clunky 50's toy-robot villains would make for a worthwhile movie.

I recently saw it with the benefit of fast forward (as another commenter said, the only way to watch this film) and have to wonder if it's really a parody. Everything about it is so stereotypically and perfectly awful, one wonders if the director was pulling a stunt like Princeton physicist Alan Sokal's hoax "postmodern physics" article in a doofy po-mo "science" journal.

But Carol Lynley looks great, as does the Canadian National Exhibition complex in Toronto lit from behind.