A cacophonic, nightmarish variation on the postapocalyptic cautionary genre, Hardware has the makings of a punk cult film.
After the nuclear holocaust, vast reaches of incinerated North America have been reduced to an infrared desert ravaged by guerrilla warfare and littered with cybernetic scrapheaps. Moses (Dylan McDermott) and Shades (John Lynch) are ‘zone tripper’ soldiers of fortune who scavenge the corpse-strewn, irradiated wasteland for techno-detritus to black market in the big city.
Moses, wasting away from radiation cancer, wants to return to his woman, Julie (Stacey Travis). She’s a fiercely cynical techno-alchemist, fond of smoking packaged dope, who keeps a fortress workshop in a blasted downtown apartment block. Reunited in a frenzied sexual collision of pulse-pounding eroticism, the couple ponder their outer-limits relationship of love in the ruins.
Hardware veers loonily out of control and becomes a black comic exercise in F/X tour-deforce that’s ceaselessly pushing itself over the top.