Oblivion (1994)

Welcome to the township of Oblivion on a planet we’ll just call Wild West. After all, it’s just like the Wild West from the movies, but in space and with random goofy SF bits bolted on.

Town Marshal – and yeah, the film clearly means sheriff but in a recurring problem is too dumb to know the difference - Stone (Mike Genovese) is shot by evil reptile dude Redeye (Andrew Divoff) in a perfectly fair fight. In fact, Redeye took care of it actually being fair by disabling the Marshall’s force field which would usually have protected him from all harm – something the outlaw doesn’t have; and it’s hardly Redeye’s fault that Stone is the slowest draw on the planet. Anyway, after that Redeye does some actually evil stuff, and he and his gang of idiot wackos (played by people like Musetta Vander and Irwin Keyes) lord it over the town rather badly.

The Marshal’s alienated son Zack (Richard Joseph Paul) is out prospecting - and saving Space Indian Buteo (Jimmie F. Skaggs) from death by giant scorpion – but even once he hears of what has occurred, he is really going to take his time to get up to some revenge, what with him being an empath and – gasp! – a pacifist. He will later turn out to be a crack shot too, for reasons the film of course doesn’t bother to get into.

And that’s because Sam Irvin’s Oblivion is one of those comedies that believes it can escape any question about world building or internal logic by vaguely waving its and and cracking a crappy joke. Which comedies often can indeed get away with. Alas, that trick only works when a film’s jokes are actually funny, so no chance for Oblivion there.

The script was apparently written by great comics scribe Peter David (with the IMDB also giving “story” credits to Charles Band, John Rheaume, Greg Suddeth and Mark Goldstein), though it doesn’t actually feel like it at all. Or really, it doesn’t feel as if any professional writer had had much of a hand in it, but rather like a series of bad ideas and underdeveloped jokes somebody has scrawled on a napkin and called a script. To be fair, one or two of the film’s sixty-nine running jokes are actually somewhat funny. I found town undertaker Gaunt (Carel Struycken) with his habit to always appear shortly before somebody is killed and the resulting social awkwardness whenever he simply goes somewhere for a beer (and so on) fun and indeed funny, but this sort of thing is buried under jokes I felt actively embarrassed by despite not at all being responsible for them.

You’d think that this could still have been saved by the pretty wonderful cast of character actors and troopers – apart from those whom I have already mentioned there are also Meg Foster, Isaac Hayes, Julie Newmar and George Takei to wonder at – but most of them are pressed into bouts of deeply unfunny mugging. The usually intensely charming Takei and Newmar are particularly terrible, also thanks to the film’s insistence on making bad meta-jokes about certain other roles of these two, again and again and again. But really, the only actors on screen who seem to have any idea what they are doing and why are Divoff, Foster, Struycken, and boring love interest to a terrible hero Jackie Swanson (because really, being boring is never difficult). Everybody else seems rather too conscious of how deep the cow shit is they have stumbled into and acts accordingly.

Things become even worse whenever the film tries to turn sort of serious for a scene or two and attempts to treat Zack’s “inner struggle” as if anybody watching cared. Something that is completely impossible to take seriously given the surrounding nonsense, badly written anyway, and done by an actor who couldn’t act his way through an open door.


But hey, the space scorpions and Divoff’s make-up are pretty good, and it’s a mid-90s Charles Band movie without puppets and dolls, so there’s that to say for the whole mess.