Platicsco Good story, Not enough for a whole film

Fairaher The film makes a home in your brain and the only cure is to see it again.

Arianna Moses Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Geraldine The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

dmdb I only write reviews of movies with low rating, which actually are not that bad. Give them a chance!This is not something I would recommend to everyone, but if you like apocalypse and post-apocalyptic movies then you may enjoy this one too. Not great, bot not that bad either - solid movie. It is boring in some parts, but still watchable, but I repeat, only if you really like apocalypse. I watched German dub version and that was great because of Future-Nazi soldiers that are in movie, I wonder how it sounds in English...5/10

Coventry Joe D'Amato, mostly known for his sleazy and downright nauseating horror flicks like "Buried Alive", "Anthropophagus" and "Emanuelle and the Last Cannibals", joins his contemporary Italian colleagues in making over- the-top cheesy and ridiculous post-nuclear Science Fiction movies! The trend started elsewhere, mostly with the Australian "Mad Max" and John Carpenter's "Escape from New York", but the Italians exploited the success of these films shamelessly and endlessly! Lucio Fulci had "The New Gladiators", Sergio Martino had "After the Fall of New York", Ruggero Deodato had "Atlantis Interceptors", Enzo G. Castellari had "The Bronx Warriors" and our good pal Joe D'Amato has both "Endgame" and this "2020 – The Texas Gladiators". It's a deliciously cheesy hodgepodge of semi-processed ideas and blatantly stolen sequences from other movies, and if you're a fan of this sort of trash, you're guaranteed to love it in spite of all the awfulness. The movie starts, as to be expected, as a bunch of chaos! Texas is entirely destroyed by nuclear warfare and hoodlum gangs randomly run amok in the streets. Luckily there's a quintet of courageous beefcake warriors parading around to protect the weaklings. During a fight in a monastery (there's a nun who cuts her own throat … TWICE!), one of them is banished for trying to rape a girl and another one leaves voluntary to marry and live in a community that tries to rebuild civilization. The evil Nazi-inspired Black One violently invades this community, however, and makes a widow out of the warrior's wife. The tree remaining buddies pick up the girl in a sleazy bar and decide to help her in defeating Black One and his evil lieutenant, who's also an old acquaintance of them. Mind you, this is just a very brief and shortened plot description. There's a whole lot more going on in "2020 – Texas Gladiators". Too much to mention, actually, as there are authentic traditional Indians, enslaved mine workers, Russian roulette sequences that are stolen straight from "The Deer Hunter", Nazis with amours of steel and one tremendously cool Asian fighting expert! Unless, of course, you have no idea what the early 80's Italian rip- off/exploitation business is all about, you simply cannot dislike "2020 – Texas Gladiators". Whilst slightly less outrageous and entertaining as "Endgame", this is another over-the-top flamboyant smörgåsbord of sleaze and violence. Donald O'Brien is fantastically stereotypical, in a totally deliberate fashion, and the battle sequences are hysterical. Imagine: hi-tech weapons can't perpetrate through the armor of the Nazi soldiers, but old-fashioned Indians with their primitive arrows and spears wipe them out in a matter of seconds! D'Amato's film is full of similar nonsense like this, and more. A real treat for demented exploitation dorks, like myself.

Woodyanders In yet another savage, desolate, society-has-gone-completely-down-the-toilet after the Big Nuclear Blast wasteland, only five super-warriors -- the humane, trustworthy Nisus (Al Cliver, acting tough and sturdy with customary earnest conviction), dorky joker Jab (the extremely obnoxious Harrison Mueller), surly Cro-Magnon Catch Dog (sneering Daniel Stephen), quiet, but deadly Asian kung fu specialist Red Wolfe (lithe'n'limber Al Yamanouchi) and rugged survivalist Halakron (the solid Peter Hooten) -- are left to tame the new wild frontier and clean up the repulsive mutated trash making life difficult for all those decent folks attempting to rebuild civilization amid the barren rubble. Catch Dog gets booted from the group after he tries to force himself sexually on the feisty Maida (strongly played by the lovely, willowy blonde Sabrina Siani, who hefts a mean pump shotgun and can kick a** just as well as any dude). Nisus and Maida settle down with a peaceful group who are holed up at an oil refinery. Things are just ducky until a horde of foul, brutish, fascistic motorcycle-riding rape and murder happy Nazi marauders led by the evil, bald, power-crazed Hitler-like despot the Black One (a wonderfully quirky, scenery-gulping slice of ice-cold camp villainy from good ol' "Dr. Butcher" himself, Donal O'Brien), who has the traitorous Catch Dog in his employ as a flunky, come storming into town demanding all of the refinery's fuel. Nisus eats it early on, so it's up to Jab, Red Wolfe, and Halakron to take care of the Black One and his horrible cronies.Reuniting several cast and crew members from the enjoyable, but slightly blah "Endgame" (Michele Soavi even returns to handle assistant director chores again), "2020: Texas Gladiators" rates as a sizable improvement, thanks to more focused, straightforward plotting and punchier pacing. Joe D'Amato's direction is strictly workmanlike, but fortunately still competent enough to create a grimly greasy'n'grungy atmospheric tone and satisfyingly deliver the necessary blood-spraying, butt-pulping, bullets a firing and bodies a falling action goods, with countless extras getting randomly snuffed at pleasingly regular intervals. Alex Carver's crafty script neatly tweaks standard raucous, rowdy, rollicking Western movie conventions, cleverly updating the plot of "The Magnificent Seven" to a gritty, bombed-out "Road Warrior"-style post-nuke sci-fi/action future: This exceedingly coarse, grimy, rough-edged effort features a lively no-holds-barred barroom brawl which comes complete with a fairly tense Russian roulette game that's directly lifted from "The Deer Hunter," plenty of sweaty white-knuckle shoot-outs and stand-offs, clearly drawn black and white distinctions between the good guys and the bad guys (the heavies are mean, dirty, heartless barbarians who cackle, leer and snarl a lot while the protagonists are true blue salt of the earth types with a firm, unyieldingly faithful moral code and a courageous willingness to sacrifice their own lives so that the beleaguered many who can't fend for themselves will prevail), and a tribe of noble bow-and-arrow wielding Native Americans astride charging horses leading the rousing attack on the Black One's army at the exciting conclusion. All in all, this one sizes up as a really good and thrilling little item.

Outlaw-12 I caught some of this ultra-cheese rip-off on Joe Bob's MonsterVision. I laughed, I cried. I squirmed during the tense and moving roulette scene because of Chris Walken's portrayal of... oops, wrong movie. I was engrossed by Mel Gibson's portrayal of a hollow loner surviving in the post-apocalyptic wastes... oops, wrong movie. I endured what I could and flipped to Starz, where they were showing "Playing God," with Agent Mulder and the Falcon (or was it the Snowman?), which wasn't much better. So, I just poured another drink and flipped between the two, and made it a truly memorable Saturday night in front of the cathode-ray opiate.