Trancer hunter Jack Deth travels through time and awakens in the body of his daughter. And now he must save himself (her body) and the world from a new a deadly breed of Trancers.Trancer hunter Jack Deth travels through time and awakens in the body of his daughter. And now he must save himself (her body) and the world from a new a deadly breed of Trancers.Trancer hunter Jack Deth travels through time and awakens in the body of his daughter. And now he must save himself (her body) and the world from a new a deadly breed of Trancers.
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Storyline
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- TriviaTim Thomerson visited the set occasionally to consult actress Zette Sullivan on playing Jack/Jo before shooting. His advice was to watch movies with Steve McQueen and act like him, only "more pissed off."
- GoofsWhen Jack arrives in his daughter's body, s/he searches her apartment for something to drink to clear his head. He looks in the fridge and laments that there is nothing but carrot juice - but visible in the upper left-hand corner of the fridge is a box of red wine.
- Quotes
[last lines]
Josephine Forrest: I've always figured the only jobs worth doing were the jobs worth dying for. That's not for everybody, especially not my kid. Scumbags are looking for her now, so I've got to stay right here to strike at them first. My name's Jack - Jo Deth, and I'm a trancer hunter. As I look out on the sea of faces around me, I wonder how many of them are regular folks, and how many of them are ready to trance out. My job is to find out. Trancers: not really alive, not dead enough, until I'm through with them.
- ConnectionsFollows The Dungeonmaster (1984)
In an early trick that sets the low-budget tone of the film, series star Thomerson appears to hold a conversation with another character through use of clips from the previous films. Thomerson, who is thanked in the closing credits, is a spectral presence in the film; appearing in flesh only courtesy of a body double.
In typical "Quantum Leap" style, this latest adventure puts hero Jack Deth into the body of his own daughter as he tries to preserve the integrity of the timeline and stop an alien invasion. The paradoxical novelty of this idea enables the filmmakers to essentially remake the first film to lead the series in a new direction. In fact the closing scenes make it quite apparent that this is the intent.
B-movie sci-fi flicks from the 1960s and 1980s were characterised by representations of the future which were essentially cheap display of props and flashing lights and Trancers 6 continues this tradition.
The majority of the film is set in Los Angeles in 2022 but there is nothing despite a title card to suggest this fact. Everything looks the same as now! Shot mainly in fairly ordinary looking rooms and old industrial locations, this form of production design is present throughout the film. In true Ed Wood tradition, offices are identified by maps pinned to walls and laboratories are endearingly characterised by fluorescent liquids in smoking test tubes. As if this wasn't enough to evoke those late night movies of old, the main prop is a ray gun.
The great thing is that it isn't laughable. You actually find these aspects comfortably familiar and they help draw you into the B-movie world. Trancer 6 doesn't take itself too seriously, but it isn't unintentionally funny either. The direction and the performances of the largely inexperienced cast make this fun for all the right reasons.
What is interesting is the treatment of the theme of male/female relations. There are a lot of dated, chauvinistic clichés which seem vaguely offensive. Jack's sexist words coming out of a young woman's mouth is an attempt to undermine his macho persona.
The idea of a female hero is a popular one, but even now all are essentially male fantasies. In this case the integrity of its female heroine is undermined by giving her the mind of the male hero of the franchise. But there is no effort to concentrate on the complex differences between the sexes, which are laughably reduced to a single scene in which Jack/Jo attempts to put on tights.
If one were to give the film a look over from a "Newsnight Review" perspective, one could say that Trancers 6 comments on the very manner in which female protagonists remain essentially controlled by male ideals. This would certainly give a greater significance to the other dated aspects of the film which I have already mentioned.
This film is filled with female stereotypes, each worthy of consideration. The heroine is, prior to transformation, a shy scientist, while Deth's supervisor appears to him in the body of a prostitute. There is an instant contrast. Jo Deth is petite and fragile looking, which obviously adds to the novelty value of her suddenly acting macho, but this is the very form which audiences seem to appreciate most. It's a valid point to consider that if the roles were reversed, that the buxom actress was in the lead, it would undermine the integrity of the film.
Highlighting female sexuality degrades a film. Trancers 6 parodies the Hollywood casting of such sexless, nonthreatening heroines. As is usually the case in films like this there is a similarly sexed antagonist. Again her sexuality is seen as negative. She's a man-eater, a manipulator using her body to control weaker men. A Lady Macbeth figure, she is very definitely representative of the 'woman-behind-the-man' mode of thinking. In many ways she may be superior to her employer, but she embraces the mainstream acceptance of a male-dominated society.
Reviving the franchise 8 years after Trancers 5: Sudden Deth (1994) was always going to be an interesting proposition. The sex change novelty has breathed new life into the series. The opportunities for intelligent discussion are merely a bonus.