The first ten seconds of Robotrix tells you everything you need to know: the son of an Arabian oil tycoon slithers into a pool with three topless ladies who argue over who gets to sleep with him first. This international playboy is a dead-eyed pile of room-temperature sliced turkey, so quibbling over his affections is a little bit of a race to the bottom. At any rate, we get to see his butt and a bunch of racks while a detective on security detail watches uneasily as the women unleash their voluminous sweater meats. It hasn’t even been a minute and you understand what kind of party you’ve shown up to. But this party abruptly ends when the son is kidnapped and Detective Selina is fatally shot.
Then, taking a page out of a 1950s sci-fi novel, the kidnapper takes his own brain and transfers it into an android. It is now a merciless killing machine skilled in martial arts. And also sex. Who can save the heir? Enter robotics scientist Dr. Sara and her android assistant Ann. They look like they’re about to hit the dance floor for Girls Night Out. They transfer Detective Selina’s brain into an android’s body and now we’re headed to a showdown!
But first, we must make love. Ann makes love. Detective Selina makes love. Ann makes love some more. There’s a line of dudes outside her door because she’s an insatiable android love-making machine. From what I can tell, the women in this movie do not own bras or shirts or clothing of any kind. The sex scenes take up more than half of the runtime of this movie. At one point I forgot that we were supposed to be saving the heir.
Eventually we do get back to the story and the film explodes. There are high kicks, high punches, and high-octane chases. Bullets fly, bodies fall, women are exploited, and in a cinematic first, there’s death by wicker suitcase. There’s also a quick break for a drinking contest.
Robotrix is a sleazefest of full frontal nudity and sex that just happens to have androids duking it out on the mean streets of Hong Kong. While it leans more heavily on the boneheaded sex comedy elements, the martial arts and stunt work are still a joy to witness. The plot is, of course, similar to Robocop and Lady Battle Cop, only less Peter Weller, less tennis, and more flashes of peen. But look beyond the bush, and you’ll see incredible set pieces and over-the-top costumes and simple practical effects that really bring the androids to life. The fight scenes are too few and far between, but the ones we do get are accomplished. Bodies get flung to and fro and get smashed. There’s also a flamethrower, which is never a bad idea. The final fight sequence is a fist-pumping delight with lightning fast editing. Writer/director Jamie Luk delivered what was set up in the first ten seconds of the film. You knew exactly what kind of party you walked into—one where the full length mirror has been turned into a table with a long line of cocaine for everyone to enjoy.
