One of the best films i have seen

It's an amazing and heartbreaking story.

While it doesn't offer any answers, it both thrills and makes you think.

Worth seeing just to witness how winsome it is.

In 2015, mankind finally did what we knew they all would. They blew the Earth up real good. Afterward, the Eurax won the war and the Pan-American Confederacy was wiped out. The healthy survivors were experimented on and everyone else was murdered in so many different ways. The Eurax look like Darth Vader, if they wore the British wrestling version of Kendo Nagasaki's outfits. And oh yeah - there haven't been any children born since the nukes got dropped. Out in the desert, life goes on. And by life, we mean punk rockers and goths watching two cars fight. One is filled with guys in face paint wearing football pads. The other has our hero, Parsifal (Michael Sopkiw, Blastfighter). He defeats the other team and is awarded prizes by a top-hat wearing circus barker and a robot clown, including a woman of his very own. He then heads out into the wasteland on his super cool tricycle, where he passes some dead cyborgs.A hovercraft comes along and demands that our hero come with them. He refuses, then drives along until he finds some mutants who are foaming at the mouth. Green foam, that is. Parsifal kills them and then sets the woman free, giving her a horse. And then, to prove how ineffectual of a hero he is, he's instantly knocked out cold by the dudes from the hovercraft and taken to Alaska.Why Alaska? Because we're in the base of the Pan-American Confederacy, who have survived. Their President sends Parsifal on a mission to find the only fertile woman in New York and harvest her eggs. If he succeeds, he gets to go away from Earth on a spaceship. And he has Ratchet, a one-eyed badass, and Bronx, a dude with a claw for a hand, to help him.They break into the city via tunnels and run afoul of a gang of mutants - led by the Rat Eater King - after trying to save a little person named Shorty. Then Eurax troops attack and only Parsifal, Bronx and Giara, one of the bad girls, are saved.Bronx is questioned by a Eurax commander (or Eurac, internet sites just don't agree on the proper spelling) who has Picasso art all over his interrogation room. Bronx decides to rip out the man's eyes while Parsifal is being tortured on a rack. That doesn't seem to work well, so Officer Ania (Anna Kanakis, Warriors of the Wasteland) makes out with him until he tells all of his secrets, again showing what a completely inept hero he is. Well, I guess he's smart enough to tell them that Giara is the fertile one when she isn't.Parsifal and Giara make their escape, covered by Bronx, who kills several soldiers until Ania shoots him. Thanks to the return of Ratchet and Shorty, they make their way to the ruined UN building. Good news! Shorty knows where to find that mythical last fertile woman in New York.The commander gets new eyeballs while Ania tells him that they have eight submarines watching for the escapees. The Eurax find Shorty's people and, as they usually do, kill everyone with a high frequency sound weapon. Only Shorty, Parsifal, Ratchet and Giara escape.While they're being chased, they run into Big Ape (George Eastman! Yes!) and his Hairy Men, who are kind of like Planet of the Apes in this otherwise Mad Max affair. Big Ape looks like a hairy beast wearing a pirate outfit, so of course, he's my favorite character in this movie. Turns out he always wanted to knock a woman up, so he agrees to help.Oh yeah - Parsifal fights off one of the Hairy Men who has taken a liking to Giara. So there's that happening now.They find the last fertile woman, who has been put into suspended animation by her dead professor father (and also dressed in see-through plastic). The guys all run off to get armor for a vehicle while Big Ape knocks out Giara and makes his move on the last fertile woman. Oh yeah - Shorty also sacrifices himself to save everyone.Our heroes escape - Giara strangely not saying anything about Big Ape attacking her and having sex with a woman who can't consent, so #metoo will exist even after the fall of New York - and make their way through the Eurax defenses. However, a laser beam penetrates the car and turns Big Ape into a smoking skeleton! What! This movie confounds the senses sometimes!Ania shoots the Eurax leader and takes over. And out of nowhere, Ratchet turns on everyone and tries to kill Parsifal. Why? Honestly, I have no idea why. Maybe because he's a cyborg, even if we haven't determined that cyborgs are evil? Giara ends up saving him and getting killed as a result, telling our hero that humanity is worth saving.So when Parsifal comes back, the leader tells him that because he's dying and won't survive the space trip, he can have his seat. As the spaceship leaves Earth, the last fertile woman wakes up and looks into Parsifal's eyes.Wait - so that's it? Were they setting up a sequel? Are we missing a few reels of the film? Did a bunch get cut out of the American version? I have no idea! This movie makes little to no sense. And I love it!"They baked the Big Apple!" one character yells as the synthesized sounds of Oliver Onions (the dudes who wrote the theme for You, Hunter from the Future) plays. If that doesn't make you want to watch this movie, I really don't know what else to tell you.

Undemanding, ultimately just plain fun post-apocalypse addition to the Italian cycle of sci-fi films, and another feather in the cap of director Sergio Martino (ISLAND OF THE FISHMEN) – so far I haven't seen an unenjoyable film directed by this underrated man. The menu for this particular outing is cheese, cheese and more cheese, with action thriving on an incredible low budget (although not a zero budget) and the plot being pretty much ripped off from ESCAPE FROM NEW YORK: a man is sent into a futuristic New York, has to acquire the last fertile woman on earth, and escape again.It's as simple as that, although there are lots of companions along the way, a couple of twists, conspiracies and supposed shocks which aren't really too surprising after all. Martino is one of my favourite of the Italian trash directors and here he shows a firm hand regards the pacing, which throws in plenty of action throughout to make the film fly by. As a result it far surpasses the Carpenter film which it ripped of in the first place.Just about every Italian post-apocalypse film cliché is thrown into this blender of a film at some point or another : we have the masked bad guys riding around on horseback (see also SHE); the cyborgs or androids (any post-1980 sci-fi film, although they predate THE TERMINATOR by a year here); the attractive female companion; the souped-up vehicles and chase scenes a la MAD MAX 2 (relegated to a single pointless car battle at the film's opening); cheap and cheesy laser beam shots (popular in any post-STAR WARS sci-fi film), weird sound effects, dwarfs and even a few gore effects which are fleeting but fun (the eye gouging and head explosion are notables).The emphasis is on action, with a ton of surprisingly efficient chase scenes, shoot-outs, fist-fights and plenty more shenanigans of this variety. Okay, so its not gonna equal the scope of TERMINATOR 2, but at least it is enjoyable in a cheap kind of way. Martino fills his movie with miniature effects work which is surprisingly decent and while many of the film's props are cheap-looking, I always appreciate the effort that goes into their creation – far better than just throwing in a CGI effect shot created on the computer as with today's cinema.Trash fans will have fun spotting the various familiar cast members. That's Haruhiko Yamanouchi (ENDGAME) as a rat-eating gang leader; lean elder Romano Puppo (GUN LAW) as the tough ally; overacting wannabe-thesp Edmund Purdom (PIECES) as the dying President; handsome, Bruce Campbell-lookalike Michael Sopkiw (BLASTFIGHTER) as the long-haired leading man; plus big George Eastman (ANTHROPOPHAGUS THE BEAST) as the hilariously – and simply – titled 'Big Ape'. It's all good and undemanding fun for fans of this particular sub-genre, and you could do a lot, lot worse.

Ripping off popular American films and making cheaper, sleazier, gorier, more exploitative and violent cash-ins was very popular among some Italian filmmakers in the late 70s and 80s, and the results were often vastly entertaining. And while Sergio Martino "2019 - Dopo La Caduta Di New York" aka. "2019 - After the Fall of New York" of 1983 is not the only Italian Post-Apocalyptic Sci-Fi film that was not only obviously inspired by, but shamelessly rips off John Carpenter's "Escape from New York", it is one of the most entertaining and violent and simply bad-ass ones. Some people seem to be bothered by films of this kind copying American classics. And I won't deny that this film does so very obviously. What these people seem to forget is that many American cult-cinema genres were clearly inspired by typically Italian genres. This film, "2019 - After The Fall of New York", is criticized for ripping off Carpenter's "Escape From New York". Carpenter is most famous for factually creating the Slasher-genre with "Halloween" (1978), which was strongly influenced by the (superior) Italian Giallo, a genre of which director Sergio Martino is one of the supreme masters. Particularly Martino's film "I Corpi Presentano Tracce De La Violenzia Carnale" aka. "Torso" (1973) was a very obvious influence for the Slasher genre; yet I have never heard anyone bitching about how Slasher films 'rip off' Martino's films. Thus much for those who can't stop whining about "2019" ripping off a Classic.As a Giallo-fan, I will always admire Sergio Martino most for masterpieces like "Your Vice Is a Locked Room and Only I Have the Key" (1972), "The Strange Vice of Mrs. Wardh" (1971) or "Torso" (1973), but, even when he operates outside the Giallo/Horror genre, Martino delivers, as proved by films like his violent latter-day Spaghetti Western "Mannaja" (1978), or this highly entertaining film. While "2019" is by no means a stroke of genius, and not nearly one of Martino's most memorable films, it definitely ranks among the better Post-Apocalyptic Italian Sci-Fi/Action flicks from the early 80s.2019: A nuclear war has extinguished a large part of the world's population and left the surviving women infertile. In fifteen years, no baby has been born. The winning party, a European/Asian/African federation called Eurax have proclaimed themselves the winners, whereas its enemies from the Pan-American Confederacy keep operating secretly from Alaska. Both parties are keen on finding fertile women in order to rescue mankind from its doom. When a fertile woman is spotted in New York, Parsifal, a tough and solitary race-driver and drifter, is sent by the Confederacy in order to recover her. The former American Metropolis, however, has become a post-apocalyptic wasteland reigned by the occupying Eurax and violent gangs, and once one is in there, it is impossible to get out... As admitted above, the similarities to "Escape From New York" are numerous (even the hero looks like Kurt Russell as Snake)and it also rips off other films such as the first two "Mad Max" films, but, as long as one isn't bothered by that, "2019" is a very cool little flick of its own right. As usual for Italian Exploitation rip-offs, this is quite a bit gorier and nastier than "Escape from NY" and includes some very gory scenes. Contrary to my expectations, there was hardly any sex or nudity, however. The post-apocalyptic scenario is done with style, and the action sequences are very well-done. My fellow Italian exploitation fans will be glad to see cult-actor George Eastman in a supporting role. Overall, "2019 - After the Fall of New York" is certainly no must-see, but it is definitely fun, and especially recommended to fans of Post-Apocalyptic Sci-Fi Action.

Eurorack, an all-powerful European mega-conglomerate, has nuked the living s**t out of the good old planet Earth, reducing the once fruitful and hospitable terrain into a harsh, barren, garbage-strewn wasteland populated by grubby malformed folks who are incapable of reproducing. Pan-American, a rival corporation, enlists the aid of tough, scruffy, tight-lipped, but fairly humane survivalist supreme Parsifal (decently played by handsome, unshaven Kurt Russell lookalike Michael Sopkiw) and fellow mangy macho mercenaries Romano Puppo and Roman Greer to venture into the dangerous wreckage of the Big Rotten Apple in order to retrieve the last fertile woman before Eurorack gets their pernicious paws on her first.Although it's clearly little more than a pretty obvious low-budget post-apocalyptic sci-fi/action amalgam of the "Mad Max" films, "The Ultimate Warrior," and especially "Escape from New York," "After the Fall of New York" for all its blatant borrowings still measures up as a compelling, commendable and agreeably exciting cut'n'paste ragbag clone. The always capable and dependable hack-of-all-genres Sergio Martino (his other pictures include "Torso," "Mountain of the cannibal God," and "Island of the Fishman") does a solid, praiseworthy job with the admittedly threadbare script: the pace zips along at a constant speedy clip, the production values are a touch chintzy, but acceptable, there's an ample amount of lively, well-orchestrated action (rip-roaring destructive car chases, brutal fisticuffs, all-out lethal firefights), the not half-bad pseudo-Goblin group Oliver Onions supply a funky, moody score (they also did the groovy music for the lovably lousy earthbound "ALIEN" copy "Alien 2: On Earth"), Giancarlo Ferrando's slick, sparely lit, atmospheric cinematography makes the film look more expensive then it probably was, a generous sprinkling of oddball touches are evident throughout (a tribe of helpful dwarfs, over-sized subterranean subhuman simian dudes, flesh-eating rats, assorted gummy-faced mutant marauders, and so on), the dialogue pleasingly mines a fun line in "guess where you heard this before?"-type nostalgia ("We have ways of making you talk"), the tone is suitably grim, desolate and unsentimental ("If love still had any meaning in this world, then I'd love you"), and the heroic sacrifices made by several people who assist in rescuing the sole fecund female are surprisingly touching.Appearing in colorful supporting parts are Edmund Purdom as a cagey, ruthless, fatally ill CEO, brawny, hulking, enormous 6' 7" behemoth post-nuke movie perennial George Eastman as Big Ape, the hairy, humongous humanoid gorilla ruler of the fetid Fun City sewers, token Asian guy fellow post-nuke movie mainstay Hal Yamanouchi as the hideously scarred nutzoid leader of a bunch of rodent-devouring freaks, the gorgeous brunette hottie Anna Kanakis as a venomous lady villain, and lovely blonde looker Valentine Monier, who's particularly good as the compassionate underground dweller who risks her own life to ensure the success of Parsifal's desperate mission. A junky, energetic and hyper-violent bleakly futuristic action/adventure blast, this bang-up baby is done with just enough verve, style and sheer infectious go-for-it aplomb to qualify as well above average dumb fun.