Cobra, the universe’s most wanted outlaw, runs his
motorcycle into a cat-suited bounty hunter. She, naturally, has her aim set on
him, but not for his bounty. A gold-skinned crime-lord kidnapped her sister. With
Cobra’s help she will save her sister from Crystal Boy’s megalomaniacal
clutches.
Not a deep plot. And, despite many obstacles poofing into
existence from A to B, not a complex one neither. The plot is an excuse. It
seems an illustrator, still reeling from a prolific creative burst, sat before
a wall plastered with drawings of characters, settings, moments and explosions,
and only then wondered, ‘How can I string these together.’ In this, SAC resembles something from French
Sci-Fi comics. The artist wishes to flex his visual muscles, and then concocts
a narrative as vehicle. So while the narrative is little more than a well-done
80s, tongue-in-cheek, action-fest, I would be in error to judge purely on that.
From the Bond-style opening credits to a space cruiser’s screen-filling flight,
the film, with no apology, puts style over substance.
