One had minor hopes sitting down to watch LunarCop. The title alone suggests interesting possibilities one has always thought that the Moon has many unused possibilities as a film location. However, it only takes five minutes before anything interesting the film may have had to offer in this direction is abandoned. The model of the moonbase is incredibly unconvincing and a shot of a ship taking off in front of it is an extremely poor piece of optical work, while the interior of the colony is represented by a series of badly cramped sets. The moment the ship takes off and we then cut to Michael Paré, without any explanation, turning up at a post-holocaust burger bar on a Harley Davidson and saving a girl from wasteland heavies, the film reveals its true colours. The title LunarCop is a big cheat all the film is is another on the conveyor belt of post-holocaust action films ripping off Mad Max 2 (1981). Technically, the title is correct but the lunar angle is of no importance to the film.
Even as a direct-to-video action film, LunarCop is dreary going. Most of the film seems to consist of a seemingly endless parade of motorcycle stunts. It is as though Boaz Davidson and his stunt coordinator sat there dreaming up different types of stunts that could be conducted with motorcycles. They are served up with a randomness the film frequently stops still for a parade of motorcycles leaping and exploding that are entirely disconnected from the plot. Some of these stunts make no sense whatsoever one shot of a motorcycle buried under the sand leaping out into the air looks undeniably spectacular but the idea that someone would bury themselves in the middle of a chase and just wait in the hope that the hero and heroine would come riding past is absurd. The latter quarter of the film inevitably picks up the other element that became a clichéd staple of direct-to-video action films in the 1980s/90s and trots out a killer android a la The Terminator (1984).
LunarCop does however have a decent ending. It sets the hero up for a tragic choice to either retain his android love or sacrifice her to save the world and happily it is an ending that does not cop out with any miraculous last minute solutions.
Director Boaz Davidson was a Golan-Globus associate who directed a handful of Cannon films with The Last American Virgin (1982), X-Ray/Hospital Massacre (1982), Dutch Treat (1987) and Going Bananas (1987). He has been more active in recent years as a producer with Nu Image, which are responsible for making a great many action and genre films. He has directed a handful of other low-budget films that include the genre likes of American Cyborg: Steel Warrior (1992) and the psycho-sexual thriller Blood Run (1994).