Duncan Gibbins' Eve of Destruction represents a textbook misfire. The camera can barely keep up with Gregory Hines, who runs circles around an inept screenplay by Gibbins and Yale Udoff. From the first scene, Hines convinces us he's a hero to watch. However, the same cannot be said for Renee Soutendijk. Despite playing two roles as a scientist and her cyborg likeness, her mannerisms -- not to mention bizarre facial expressions -- fail to make a worthy impression.  

As for the story, it's an uneasy hybrid between The Terminator and Frankenstein though it proves far less ambitious than both. When Eve VIII (Soutendijk) malfunctions in the real world, she acquires firearms and goes on a rampage. Because there's no off-switch and the government bigwigs which funded her creation desire a media blackout, they employ Colonel Jim McQuade (Hines). The latter's expertise in eliminating unwanted threats makes him the ideal man for the job. Yet there are things about Eve which remain classified even from him.  

Ultimately, mainstream audiences were spared the theatrical release of Eve of Destruction due to resoundingly negative critical feedback. Time has not done the film any favours. Indeed, several scenes featuring Soutendijk seem bloated to laughable extremes with emphasis on meaningless exposition and padding.   

Basically, Gibbins' project could use an upgrade. There's some spectacle but nowhere near enough. For a robot locked in battle mode, Eve VIII displays a curious lack of consistency in her behaviour. As such, the whole thing reeks of holding off until the predictable finish.   Apart from Hines, the only ace belongs to composer Philippe Sarde. A wonderfully diverse artist, he allows the electronic, jazzy and orchestral units to flourish. Thus, we hear a soundtrack which surpasses the minor thrills.

(Released by Orion Pictures and rated "R" by MPAA.)