Much is made of Rutger Hauer’s titular android being the first to adopt human characteristics due to a stray shot wiping his programming but the script either never explains the reason for the human-like behaviour of the other androids in the film or distinguishes Hauer’s actions from them sufficiently to make any sense of this point. On the minus side, there is the usual share of Pyun-esque silliness – Pyun’s androids are rarely ever more than standard action characters with occasional bits of circuitry showing – Omega Doom features daft ideas like a bartender running a bar for androids. The android Omega Doom (Rutger Hauer) wanders the post-holocaust landscape It also updated and played out amongst mobsters in the Prohibition Era in by Walter Hill Last Man Standing (1996) the same year as this came out. The Yojimbo plot has influenced a number of other filmmakers, most notedly the Spaghetti Western A Fistful of Dollars (1964). Pyun has intriguingly updated the story to the B science-fiction movie post-holocaust action playground with warring factions of androids replacing the factions of the original. The plot has been stolen from Akira Kurosawa’s Yojimbo (1961), which concerns a swordsman who arrives in a small town and plays two criminal gangs off against each other. Omega Doom falls on the occasionally interesting side. Albert Pyun’s films tend to fall between the occasionally interesting – Nemesis – and the merely mindless – Knights and Cyborg. These usually feature messianic androids traversing post-holocaust wastelands and/or engaged in martial arts/kickboxing duels. Pyun has been prolific in producing a host of similar films, including Cyborg (1989), Nemesis (1993) and its three sequels, Knights (1993) and Heatseeker (1995). Omega Doom is one of Albert Pyun’s android/cyborg post-holocaust films.
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