Death games have long been a captivating theme in cinema, exploring humanity’s darkest impulses and the thrill of survival. Films like The Running Man (1987), based on a Stephen King novella, brought this concept to the forefront, depicting a dystopian future where criminals are forced into a deadly televised game for the entertainment of the masses. More recently, movies like Nerve (2016) and Escape Room (2019) have modernized the genre, introducing the chilling reality of life-or-death games driven by social media or engineered by shadowy organizations.

These films highlight not only the physical survival but also the psychological toll on the competitors, where the line between entertainment and morality blurs.

Clone Cops is a fresh and playful twist on the death game genre. Unlike many of its more intense predecessors, director Danny Dones and writer Phillip Cordell inject a dose of humor into the chaos. The film follows a group of outlaws as they fend off wave after wave of cloned law enforcement officers, determined to shut them down. Adding to the absurdity, the entire showdown is broadcast as part of a reality TV show, turning their desperate battle for survival into bizarre entertainment for the masses.

It’s clear that Clone Cops draws inspiration from several iconic sci-fi films, weaving familiar elements into its own unique narrative. The concept of human replication for labor is reminiscent of Blade Runner (1982), where bio-engineered replicants are created by a powerful corporation to perform dangerous or undesirable jobs. Similarly, Clone Cops explores the idea of clones used as law enforcement officers, blurring the line between human life and corporate commodification.

Additionally, like the aforementioned The Running Man, Clone Cops taps into the dark fascination with televised violence. In both films, the protagonists find themselves caught in deadly situations orchestrated by and broadcast for the entertainment of the viewing public, where human suffering is turned into spectacle. This fusion of dystopian themes and the commercialization of violence in Clone Cops creates a satirical commentary on society’s obsession with reality TV and its moral decay, while tipping its hat to sci-fi classics that have explored these ideas before.

While Clone Cops shines with its humor and sharp satire, the film isn’t without its flaws. One of the most noticeable issues is the low-budget special effects. Instead of opting for practical effects to deliver the blood and violence, the filmmakers rely heavily on CGI, which often looks unpolished and detracts from the intensity of the action. The fight scenes, a critical element in any action-heavy film, are awkwardly choreographed. Many moments feel disjointed, with combatants seemingly pausing, waiting for the next move, rather than engaging in fluid, dynamic exchanges. This results in action sequences that lack the energy and realism needed to truly captivate viewers.

Additionally, the storyline, itself, suffers from a lack of coherence. At times, the plot appears to shift into a new, interesting direction, only to abruptly and jarringly revert back to its original path. These narrative U-turns make the film feel more like a bumpy rollercoaster than a smooth, engaging ride — the inconsistent pacing is difficult to fully enjoy.

Clone Cops earns a solid three out of five stars. It’s a fun, lighthearted film that doesn’t take itself too seriously, delivering plenty of laughs along the way. The fresh, comedic spin on the death game genre is a bold and refreshing departure from the norm, making it stand out among similar films.

As it screens at the 55th Nashville Film Festival, it’s sure to draw attention from new audiences, including myself, to the future work of director Danny Dones and writer Phillip Cordell. The film has its rough edges, particularly in production quality, but with a bit more polish, Dones and Cordell have the potential to elevate their projects from good to great. I’m excited to see what this talented duo has in store next.