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Solarbabies
Theatrical poster by John Alvin
Directed byAlan Johnson
Written byWalon Green
Douglas Anthony Metrov
Produced byJack Frost Sanders
Irene Walzer
Starring
CinematographyPeter MacDonald
Edited byConrad Buff
Music byMaurice Jarre
Production
companies
Distributed byMGM Entertainment Co.
Release date
  • November 26, 1986 (1986-11-26) (U.S.)
Running time
94 minutes
CountryUnited States
LanguageEnglish
Budget$23 million[1]
Box office$1.5 million[2]

Solarbabies (also known as Solarwarriors and Solarfighters) is a 1986 American science fiction film, made by Brooksfilms and released by Metro-Goldwyn-Mayer. It was the second and final film directed by Alan Johnson, who is better known for his work as a choreographer.[3][4][5]

Solarbabies was released theatrically on November 26, 1986. The film was widely panned by critics as a nonsensical, derivative sci-fi mess, criticized for its silly dialogue, poor acting (despite a young cast), blatant rip-offs from Blade Runner and Mad Max, and a nonsensical plot involving roller-skating kids, a magical glowing orb, and a lame villain, though some found it enjoyable as "80s cheese" due to its unintentional humor and nostalgic value. It bombed theatrically but became a cult favorite on video/cable, with some reviewers noting its production values (like music and design) and the careers it launched for stars like Jami Gertz and Jason Patric.

Plot

[edit]

In a bleak post-apocalyptic future, most of Earth's water has been placed under containment by the Eco Protectorate, a paramilitary organization, who governs the planet's new order. Orphan children, mostly teenagers, live in orphanages created by the Protectorate, designed to indoctrinate new recruits into their service. The orphans play a rough sport which is a hybrid of lacrosse and roller-hockey. Playing is the only thing that unites them other than the futile attempts of the Protectorate to control them. These orphans are Jason, the group's leader, Terra, Tug, Rabbit, Metron and a young deaf boy named Daniel.

While hiding in a cave, Daniel finds a mysterious orb with special powers. The orb is an alien intelligence called Bodhi, who miraculously restores Daniel's hearing and has other powers, such as creating rain indoors. Another orphan, Darstar, takes the orb, hoping that he will be able to use it. He leaves the orphanage on roller skates and Daniel soon follows. The rest of the group chase after Daniel. The E-police learn of Bodhi while chasing the teens and catch Darstar with the sphere. The teens are eventually rescued by a band of older outlaws called the Eco Warriors. They have retired from fighting and are led by Terra's long-lost father, Greentree.

The teens leave the Eco Warriors and using their roller skating skills, break into the Protectorate's high security Water Storage Building. The teens discover the E-Police are trying to destroy Bodhi and they manage to recover the alien, but as soon as they do the sphere dematerializes and destroys the facility, releasing the water back to where it belongs as they rush out. As they all gather on a nearby hillside, Bodhi sparks the first thunderstorm the teens have ever seen and returns to space, but not without leaving a bit of himself behind in each of them.

Ultimately, in the closing credits, the orphans are seen swimming together in the newly-restored ocean, Darstar being fully accepted into the group and Jason and Terra sharing a kiss.

Cast

[edit]

Production

[edit]

Executive producer Mel Brooks explained how Solarbabies was made in an episode of the podcast How Did This Get Made?[6][7] Co-writer Douglas Anthony Metrov was also interviewed for a How Did This Get Made? article for /Film.[8]

Metrov was inspired by the "guerrilla filmmaking" methods of his friend Abel Ferrara to create a low-budget film of his own. He subsequently wrote a 32-page treatment for a science fiction film about a group of children he dubbed the "Little Rascals of the future." The treatment caught the attention of veteran screenwriter Walon Green and Mark Johnson, an employee for Brooks. To pitch the film to potential investors, Metrov filmed a 12-minute slideshow with random kids playing the parts.

Metrov's presentation caught the attention of Brooks, who agreed to make it in Spain due to the lack of unions and cheaper production costs. Brooks also gave Metrov the director's chair. The production was greenlit with a $5 million budget, but Brooks was persuaded by his colleagues to increase the budget under the belief that it had greater potential. An additional $20 million was eventually required to complete the film. Because Metrov had no experience directing a big-budget film, Alan Johnson was hired as a replacement.

The beginning of the shoot encountered delays because of unexpected heavy rains. Later, director Johnson and the cast had so many disagreements that Brooks flew to the set and ordered the cast to get back to work or be fired. Brooks recounted how a number of sequences Johnson shot didn't make sense, or had poor coloration, and more money was needed for additional filming. Finally, more money was needed at the end for special effects.

When production began, Brooks had invested approximately $1.5 million of his own money. As production delays mounted, he invested more, eventually taking out a second mortgage on his home. Brooks was forced to raise an additional $15 million through banks.

Brooks was worried the movie could not be saved, so he cut together a 10-minute trailer for the movie in a sci-fi style similar to Star Wars in order to sell to distributors. When Brooks approached Paramount, Michael Eisner showed interest, but Jeffrey Katzenberg said no. Eventually, Alan Ladd Jr. at MGM agreed to distribute the movie, and connected Brooks with international distributor UIP. The distributor purchased the movie from Brooks for $14 million.

After paying back investors and loans, Brooks estimates he had lost about $9 million of his own money at the time. However, Brooks claimed that over the years since its release, the movie finally did break even, most likely through home video and DVD. Brooks called it a "miracle." Actor Alexei Sayle discussed the on his podcast in 2024 and described it as a "disaster".[9]

Release

[edit]

Solarbabies was released in the United States on November 26, 1986. In the Philippines, the film was released by Movierama International on June 23, 1989.[10]

Reception

[edit]

Reviews for Solarbabies were very poor, with film historian Leonard Maltin describing it thus: "An appalling stinker, the 1980's teen jargon doesn't exactly capture the futuristic mood of this junk." The film was given a BOMB rating in his annual publication.[11]

Joe Kane of the The Phantom of the Movies' Videoscope called the picture "A pathetic Mad Max Beyond Thunderdome rip-off, working from a script which must have been scrawled in Crayola, with every futuristic cliché you could possibly imagine. Lacking in originality, but rich in brain-dead dialogue; when Jami Gertz snarls, 'Get out, you creature of filth!', consider that a subliminal message."[12]

Steven H. Scheuer, author of Movies on TV, also slammed the film: "This pic rips off everything from Cool Hand Luke to Dune to Rollerball to Logan's Run to The Warriors and still comes up dry."[13]

Mike Clark, reviewing the film for USA Today, had this message for the filmmakers: "Better pray for a pox on Spock, guys, and fast" (the film was released on the same day as Star Trek IV: The Voyage Home), and added "...we see in a couple of scenes that movies still exist. I'd have thought both civilization and the movies would have been wiped out by '41 [the year in the future the movie is set], thanks to atrocities like Solarbabies."[14]

Gene Siskel, on his syndicated film review show At the Movies, called the movie "trash...Such is what happens when you begin with good characters, costume/production design, special effects, and stunt-work...then scramble to build a plot around it all. The best thing about this picture is its title; rather than a screenplay, it has a barrel of gimmicks." Siskel's colleague Roger Ebert seemed to agree: "You can't expect any cast, no matter how committed, to sell a movie that--apparently--can't decide what it's about. The actors must be given a solid storyline to work with and build on, which neither this film nor its producers have done."[15]

Audiences polled by CinemaScore gave the film an average grade of "C" on an A+ to F scale.[16]

Home media

[edit]

The film was released on DVD on March 6, 2007.[17] The movie was later given a Blu-ray release, first in Germany on September 25, 2014 by Koch Media[4] and in the US on May 10, 2016 by Kino Lorber.[18]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Solarbabies

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from Grokipedia
Solarbabies is a American directed by and produced by Brooksfilms, with distribution by . Set in a post-apocalyptic future where water is scarce and society is controlled by a militaristic regime, the story follows a group of orphaned teenagers who discover a mystical orb called Bohdai, believed to hold the power to restore rain and life to the barren . The film blends elements of adventure, dystopian drama, and youth rebellion, featuring high-energy action sequences centered around a futuristic sport resembling a mix of and hockey. The narrative centers on the orphanage-dwelling protagonists, including the athletic leader Jason (played by ) and his companion Terra (Jami Gertz), as they navigate oppression from the authoritarian led by the villainous Grock (). Supporting the young cast are notable actors such as as the blind orphan Daniel and as The Warden. The screenplay, written by and Douglas Anthony Metrov, draws inspiration from classic sci-fi tropes like those in and Rollerball, emphasizing themes of environmental collapse, freedom, and the rediscovery of ancient powers. Production began in 1985 under the working title Solarwarriors, with filming locations including the in to evoke the film's arid wasteland setting. The score was composed by , known for his work on Lawrence of Arabia, adding an epic orchestral layer to the youthful energy of the story. Despite its ambitious visual effects and practical stunts involving custom and the animatronic orb, Solarbabies faced a mixed reception upon its theatrical release on November 26, 1986, earning a 0% critics' score on from 10 reviews that criticized its derivative plot and uneven pacing. Over time, it has garnered a for its nostalgic aesthetic and earnest performances, with availability on streaming platforms like MGM+ highlighting its enduring appeal as a piece of retro sci-fi cinema.

Plot and themes

Plot summary

In a post-apocalyptic future 41 years after devastating eco-wars, the authoritarian Eco Protectorate controls Earth's scarce , enforcing a rigid that privileges elites while confining orphaned children to labor camps masquerading as orphanages. Society is stratified, with the orphans subjected to and forced labor under the watchful eye of overseers like the Warden at Orphanage 43. The narrative follows the Solarbabies, a tight-knit group of teenage orphans who rebel against their confines through their passion for skateball, a brutal roller-skating resembling hockey. The core members include , the determined leader; Terra, Jason's romantic interest and a skilled player; , the wisecracking ; Metron, the inventive technician; and Daniel, a young deaf orphan who serves as the group's emotional heart. During an intense skateball game in a hidden cavern, Daniel discovers Bohdai, an ancient alien orb that bonds with him, restoring his hearing and imparting visions of its powers to manipulate , , and even grant telepathic communication. Excited by Bohdai's potential to end the , the Solarbabies hide the orb, but its energy draws the attention of the Protectorate's enforcer, Grock, a ruthless commander intent on capturing it to preserve the regime's monopoly. Tensions escalate at the orphanage's annual skateball championship, where a teammate's betrayal exposes Bohdai, forcing the Solarbabies to steal wheeled vehicles and flee into the wasteland. by Grock's armored patrols in high-speed chases across barren deserts, the group seeks allies among outcasts, including the elderly shaman Bum of the nomadic Tchigani tribe, who reveals Bohdai's extraterrestrial origins and its destined journey to sacred underground caves where it can unleash global rains. En route, they navigate dangers like the junk-strewn Tiretown and confront bounty hunters, while Bohdai aids their survival by conjuring water mirages and healing wounds. The story culminates in a fierce showdown at the caves, where the Solarbabies defend Bohdai against Grock's forces, activating the orb to summon a cataclysmic storm that floods the land, topples the Protectorate, and restores free water to the world, allowing the orphans to envision a freer future.

Themes

Solarbabies explores through its depiction of a post-apocalyptic ravaged by , where drives and control. The film portrays not merely as a vital but as a for and renewal, hoarded by the authoritarian Eco Protectorate to maintain power over the populace. This scarcity underscores a broader critique of resource exploitation, with the barren landscape serving as a constant reminder of ecological devastation. Central motifs revolve around youthful rebellion and the formation of a found family among a group of orphans raised in oppressive institutions. The protagonists, bonded through their shared experiences in the and their passion for the of skateball, embody camaraderie and a coming-of-age journey that fuels their resistance against the Eco Protectorate's militarized regime. This dynamic highlights themes of defiance, where personal growth emerges from mutual trust and in the face of institutional tyranny. The narrative incorporates spiritual and mystical elements via the Bohdai orb, an ancient alien artifact symbolizing benevolence and amid technological oppression. Discovered by the orphans, the possesses otherworldly powers that guide and empower them, contrasting sharply with the cold machinery of the Protectorate's control systems. It represents a force of renewal tied to forgotten wisdom, offering a counterpoint to the dystopian world's mechanized despair. Stylistically, the film draws from 1980s tropes, blending high-energy roller-skating action sequences with adventure and post-apocalyptic elements to create a youthful, kinetic vibe. These sequences fuse sports-like competition with survival chases, evoking influences from Mad Max's desert warfare and Star Wars' mystical quests, though adapted into a more playful, teen-oriented framework. At its core, Solarbabies conveys a subtle anti-authoritarian message by critiquing the militarized of natural resources, portraying the Eco Protectorate as a symbol of corporate and state overreach. However, this commentary is often diluted by the film's simplistic and uneven pacing, which prioritize over depth.

Development

Origins

The concept for Solarbabies originated in 1979 when Douglas Anthony Metrov, a fine artist transitioning into filmmaking, developed an initial idea for a guerrilla-style, low-budget science fiction film inspired by Abel Ferrara's independent techniques and George Lucas's THX 1138. Metrov expanded this into a 32-page speculative treatment in 1980, envisioning a post-apocalyptic story of roller-skating orphans discovering a magical orb in a desert world, drawing from the whimsical camaraderie of The Little Rascals reimagined in a stark, white-sand aesthetic. To pitch the project, Metrov created a 12-minute computerized slide show featuring 35mm stills of children on roller skates, which he presented in Los Angeles that same year. In the early 1980s, producer Mark Johnson introduced Metrov to Mel Brooks, who acquired the treatment for his production company Brooksfilms after being captivated by the slide show's innovative visuals and personally guaranteed funding for the project. Brooks initially hired another writer, Roderick Taylor, to adapt the treatment into a script, but deemed the result "a piece of shit," prompting Metrov to co-write revisions alongside screenwriter Walon Green on spec through iterative 20-page drafts. The revised script, completed by Metrov and Green, earned Brooks's praise as "very good, really interesting," shifting the tone from Metrov's art-house, independent vibe—pitched at a modest $2 million budget—to a more ambitious mainstream sci-fi adventure with expanded elements like the alien orb's mystical properties and roller-skating action sequences. This evolution reflected vision for a larger-scale , though it deviated from Metrov's original low-key guerrilla , setting the stage for greenlighting while introducing creative tensions over scope and style.

Pre-production

Pre-production for Solarbabies ramped up in 1984 and 1985, following the project's acquisition by ' in the early , with secured early as the domestic distributor in partnership with international distributor (UIP). Originally, co-writer Douglas Anthony Metrov, who conceived the project in 1979 as a low-budget guerrilla-style , intended to make his directorial debut, with Brooks initially supporting this plan after viewing Metrov's 1980 slide show presentation. However, due to Metrov's lack of experience directing a and pressure to scale up the production for broader commercial appeal, Brooks replaced him with choreographer , a longtime collaborator known for his work on Broadway musicals and music videos, including contributions to Brooks' The Producers and To Be or Not to Be. Johnson, who had no prior feature directing credits but was praised for his visual flair, was selected in part because Brooks trusted him to handle the project remotely. The script underwent multiple rewrites to heighten action sequences and youth-oriented elements, aligning with the film's of teenagers; after an initial draft was rejected by Brooks as inadequate, Metrov and co-wrote a new version on spec, which was later revised by and Brooks to tone down more experimental aspects of Metrov's original vision, transforming it into a more conventional sci-fi adventure. The budget escalated dramatically from an initial $5 million allocation—part of which Brooks personally funded with $1.5 million—to $23 million, driven by the ambitious post-apocalyptic scope, extensive requirements, and production delays; to cover overruns, Brooks mortgaged personal assets and took out loans, later stating the experience left him financially strained. Location scouting led to the decision to film primarily in , chosen for its tax incentives, lower production costs compared to the U.S., and vast desert landscapes that could convincingly depict the film's dystopian world. was set to begin on September 16, 1985.

Production

Casting

The principal cast of Solarbabies featured a mix of emerging young actors suited to the film's post-apocalyptic setting and roller-skating action sequences, alongside veteran performers to provide gravitas to the adult antagonists. Casting was handled by a team including Debbie McWilliams (), Pennie , Fran Kumin, and Meg Simon, who prioritized athletic newcomers capable of handling the physical demands of the script's "skateball" games and chases. Jason Patric portrayed Jason, the resourceful leader of the orphan group, in one of his first major film roles following his television debut in the 1985 ABC movie Toughlove. At age 19 during production, Patric brought a brooding intensity that aligned with the character's rebellious arc, marking an early step in his rise as a leading man in 1980s youth-oriented films. Jami Gertz played Terra, the romantic interest and fellow orphan, leveraging her fresh-faced appeal from prior television work on series like Square Pegs (1982–1983), where she had been cast as a teenager after winning a national talent search at age 16. Her selection emphasized the youthful energy needed for the ensemble's dynamic, positioning Solarbabies as one of her initial big-screen credits in 1986 alongside Crossroads and Quicksilver. Lukas Haas, then 9 years old, was cast as Daniel, the deaf orphan whose sign-language communication adds emotional depth to the group; Haas was chosen for his proven dramatic range, fresh off his acclaimed child role in Witness (1985), which showcased his ability to convey vulnerability without dialogue. Supporting the teen ensemble were James Le Gros as Metron, the gadget-savvy outcast in an early career role that highlighted his lanky, inventive screen presence; Claude Brooks as Rabbit, the group's comic-relief sidekick; and Peter DeLuise as Tug, contributing to the lighthearted camaraderie among the "Solarbabies." Among the adult cast, embodied the authoritarian Warden of the orphanage, drawing on his Emmy-winning television pedigree from shows like The Practice (1976) to infuse the role with a mix of bluster and pathos, grounding the fantastical elements. served as the primary antagonist Grock, the ruthless Eco-Protectorate commander, bringing commanding authority from prior films like (1973); Sarah Douglas played the villainous Shandray, an evil scientist, leveraging her experience in high-profile sci-fi like (1980). This blend of rising stars and seasoned actors helped shape the film's tone as a youthful adventure with stakes elevated by credible threats.

Filming

Principal photography for Solarbabies commenced on September 16, 1985, and wrapped in mid-December 1985, spanning approximately three months across various locations in to evoke the film's post-apocalyptic . Exteriors were primarily filmed in the arid expanses of , including the and the Rodalquilar mines, where the production utilized abandoned mining structures and built custom sets like the E-Protectorate compound at an old facility north of Rodalquilar. Interiors and controlled sequences, such as the skateball pit, were shot on the outskirts of and inside a at the former U.S. Air Force base in , with additional establishing shots at the José María de Oriol dam and the in Alcántara, . The shoot encountered substantial logistical hurdles, beginning with unexpected heavy rains that delayed the start of production in the typically dry Spanish deserts, ironically complicating scenes set in a water-scarce world. Further complications arose from on-set disputes between director and the cast, including resistance to his direction, which exacerbated rising costs and strained the schedule. intervened by flying to the location in , where he confronted the team and threatened mass firings to reassert control and prevent further derailments. Amid these issues, budget pressures intensified during filming, pushing expenditures well beyond initial projections. Key action sequences, including the skateball games and high-speed chases, relied on practical filming techniques, with the young performers navigating custom-modified and vehicles across the rugged terrain for authenticity. Cinematographer Peter MacDonald, known for his work on expansive landscapes, utilized wide-angle lenses to emphasize the epic, barren scope of the deserts, enhancing the film's sense of isolation and scale.

Visual effects

The visual effects for Solarbabies were supervised by at , marking one of the company's early projects following its founding in 1983. The work combined practical effects, miniatures, and optical compositing to depict the film's post-apocalyptic world, with contributions from matte artist Matthew Yuricich for landscape extensions and environmental scenes. Unlike high-profile contemporaries, was not involved, resulting in a more modest scale of effects that relied on traditional techniques rather than cutting-edge digital integration. Central to the film's sci-fi aesthetic was the Bohdai orb, a sentient alien artifact portrayed as a practical glowing with internal lighting and mechanisms for dynamic "magical" sequences, such as and generation. Post-production enhancements at Boss Film added ethereal glows and simulated water manipulations through optical printing, animating the orb to evoke a Tinkerbell-like whimsy blended with extraterrestrial wonder. This design choice grounded the orb's mystical elements in tangible hardware while allowing for animated flourishes, though contemporary reviews noted its effects as rudimentary compared to more polished sci-fi fare. The dystopian landscapes blended practical sets filmed in Spain's Almeria desert with miniature models for expansive vistas and vehicle chases, augmented by Yuricich's matte paintings to convey barren industrial . Anthony Pratt emphasized stark, oppressive architecture in and facilities, using metallic structures and shadowed interiors to underscore themes of control and scarcity. Bob Ringwood crafted leather-and-metallic outfits for the orphaned Solarbabies, evoking agile, rebellious youth in a Mad Max-inspired palette, while authoritarian uniforms featured rigid, high-collared silhouettes to denote oppression. Challenges arose during , with the film's $25 million ballooning due to production delays that indirectly impacted effects timelines, though specific VFX overruns were not isolated in reports. Critics highlighted shortcomings in composite shots, such as visible seams in chase sequences and the rain climax, alongside dated wire work visible in roller-skating stunts that failed to convincingly integrate actors with amplified motion. Editor Conrad Buff synchronized these elements with Maurice Jarre's orchestral score, using rhythmic cuts to heighten dramatic impacts in effects-heavy scenes, though the overall integration was faulted for uneven pacing and cheesiness.

Release

Theatrical release

Solarbabies had its U.S. premiere on November 26, 1986, distributed by MGM/UA Communications Co. in a limited strategy aimed at capturing the holiday family audience during the season. The film opened on 692 screens nationwide, reflecting a modest rollout despite its themes and of young actors. However, its MPAA rating of PG-13, assigned for mild violence and language, tempered its appeal to very young viewers. The international rollout was similarly restrained, beginning in early 1987 with releases in markets such as on April 16 and several European countries, including Austria and West Germany in May. In some regions, the film appeared under alternate titles like Solarwarriors, particularly in the . Distribution extended to limited engagements in other territories, but overall foreign exposure remained sparse. MGM/UA's severe financial challenges in 1986, marked by a $57 million net loss in fiscal 1985 and an additional $28.4 million loss in the first quarter of 1986 alone, severely hampered the studio's ability to mount a robust theatrical campaign for the film. These woes, exacerbated by ongoing corporate instability including a high-profile acquisition by earlier that year, led to minimal marketing support and a quick fade from theaters. Box office performance underscored the release's struggles, with Solarbabies earning $704,692 in its opening weekend and a total domestic gross of $1,579,260 against an estimated of $25 million, cementing its status as an immediate commercial disappointment. The film's poor financial showing contributed to broader perceptions of it as a high-profile flop from the era's slate.

Marketing and promotion

To generate interest in Solarbabies, executive producer crafted a 10-minute designed to imitate the epic scope of Star Wars, incorporating grand visuals, sweeping music, and high-stakes sci-fi elements to pitch the project to potential distributors. This deceptive promo was screened for studio executives, including nearly convincing during his time at Paramount, helping secure MGM's involvement despite the film's unconventional tone. MGM's advertising strategy targeted demographics through print ads and TV spots that highlighted the film's young ensemble—featuring rising stars like and —the high-energy action sequences, and the roller-skating motif, aligning with the surge in roller-disco and skate culture popularity. Promotional materials included detailed press kits distributed to media outlets, containing production notes, cast biographies, and stills to facilitate coverage. Promotional events were limited, consisting primarily of investor screenings, such as a 10-minute for and executives to build internal support, alongside modest press junkets featuring the . Brooks contributed personally to endorsements, planning overseas publicity tours to boost international appeal despite his private reservations about the . The was managed under 's $14 million distribution deal, prioritizing youth-oriented outreach but struggled against emerging negative word-of-mouth from early previews. merchandise remained minimal, limited to posters and promotional pressbooks, with no significant toy lines or games developed owing to perceived commercial risks.

Reception

Critical reception

Upon its release in 1986, Solarbabies received overwhelmingly negative reviews from critics, who highlighted its lack of originality and execution flaws. awarded it two out of four stars, describing the film as "derivative, unimaginative and desperate" for borrowing heavily from The Road Warrior and other hits while "slog[ging] along through a plot" that lacked pace and coherence. , Ebert's co-host, was even harsher in their joint review, dismissing it as one of the weakest films of the year for its muddled storytelling and failure to engage. Film historian labeled it an "appalling stinker," criticizing the outdated 1980s teen jargon and overall ineptitude. Aggregate scores reflected this disdain, with compiling a 0% approval rating based on 10 reviews, underscoring complaints about a weak script that "doesn't make much sense," wooden , and subpar . Common critiques focused on glaring plot holes, such as inconsistent world-building in its dystopian setting, cheesy that undercut the elements, and tonal inconsistencies between gritty post-apocalyptic themes and lighthearted teen . Rare positives emerged for Maurice Jarre's score, which some noted added a sense of epic sweep despite the film's shortcomings, and the youthful of the cast, including and , though these were overshadowed by the narrative chaos. Retrospective assessments have largely maintained the negative consensus while occasionally embracing its quirks. In a 2016 live episode of the How Did This Get Made? , guest joined hosts , , and to dissect the film's "bonkers" premise and execution, portraying it as a prime example of misguided sci-fi excess. Actor , who appeared in the film, revisited it on his 2024 , calling it a "disaster" and reflecting on its production woes. As of 2025, some outlets have recast Solarbabies as peak , appreciating its roller-skating action and earnest silliness as appeal for seekers, yet the broader critical view remains one of a flawed, box-office flop that strained producer financially.

Audience response

Upon its theatrical release, audiences responded with mixed enthusiasm to Solarbabies. Audiences polled by gave the film an average grade of "C" on an A+ to F scale. While some viewers praised the energetic action sequences and the engaging chemistry among the young cast, including and , many expressed confusion over the film's convoluted plot and uneven tone, which blended post-apocalyptic with teen adventure elements. Younger audiences, in particular, found enjoyment in the roller-skating "skateball" scenes, which provided a playful contrast to the heavier narrative. The film's commercial underperformance, with a domestic gross of just $1,579,260 against an estimated $25 million budget, was largely attributed to lackluster word-of-mouth, stiff competition from high-profile releases like IV: The Voyage Home (which debuted the same day and earned over $109 million worldwide), and a perceived mismatch between its marketing as a sci-fi romp and the darker, dystopian content that proved less accessible. Targeted at teenagers with its PG-13 rating and youthful protagonists, Solarbabies struggled to fully connect with its intended demographic, as the oppressive world-building and themes of alienated viewers seeking lighter . In subsequent years, the film recouped some losses through releases, including late-1980s VHS rentals, where it became an occasional rental choice for nostalgic families and sci-fi enthusiasts, though it never cultivated a significant dedicated fanbase. By 2025, online retrospectives and audience discussions often characterize it as a cheesily entertaining artifact of 1980s cinema, appreciated for its earnest absurdity but without achieving status or broad acclaim.

Legacy and home media

Cultural legacy

The financial fallout from Solarbabies was severe, with the $25 million production resulting in an estimated $21.5 million loss for and Brooksfilms combined, exacerbated by its meager $1.5 million worldwide gross. Producer personally shouldered a $9 million loss after selling the film to for $14 million, which left him "legally broke" and prompted him to describe himself as metaphorically "ready to jump off a roof" due to the mounting debts and production overruns. The film has been referenced in media discussions of Hollywood misfires, notably in a 2016 bonus episode of the podcast How Did This Get Made?, where Brooks appeared to recount the deceptive trailer that misrepresented the movie as an action-packed roller-skating adventure and detailed the chaotic production that ballooned the budget from $5 million to $23 million. Actor , who played the bounty hunter Malice, revisited the film's production woes—including creative clashes and logistical nightmares—on his podcast The Alexei Sayle Podcast in a March 2024 episode. In the , Solarbabies emerged as a favorite within the "so-bad-it's-good" niche of , appreciated for its campy aesthetics, over-the-top roller-skating sequences, and earnest post-apocalyptic earnestness despite its narrative incoherence. This status has been highlighted in recent online content, such as a September 2025 video titled "Solarbabies (1986): In The Making Or Just Cheesy Sci-Fi?", which praises its kitschy charm and unintended humor. No major theatrical revivals, remakes, or adaptations have materialized, keeping its legacy confined to niche enthusiast circles. As an emblem of 1980s excess, Solarbabies is often grouped with other high-budget sci-fi disappointments like (1986), both of which were swiftly pulled from theaters amid poor reception and exemplify the era's risky bets on genre mashups that failed to connect with audiences. The project's failure has factored into broader analyses of ' forays beyond comedy, underscoring the perils of his Brooksfilms banner diversifying into straight dramatic and speculative fare during a period of studio instability at . Co-writer Douglas Anthony Metrov, who conceived the story from a short narrative, largely withdrew from screenwriting after the flop, returning to his roots as a fine arts painter and later describing Solarbabies as a "$20 million bomb" that derailed his Hollywood ambitions.

Home media releases

The film was first released on VHS in 1987 by MGM/UA Home Video, shortly following its theatrical debut, and achieved moderate rental popularity in the home video market during the late 1980s, contributing to partial recovery of its production costs. Solarbabies made its DVD debut on March 6, 2007, distributed by MGM Home Entertainment as a standard edition without supplemental features. The film received its first Blu-ray release in Germany on September 25, 2014, under the alternate title Solarfighters and published by Koch Media. The U.S. Blu-ray edition followed on May 10, 2016, from Kino Lorber, featuring a remastered 1080p transfer and the original theatrical trailer as its sole extra. As of 2025, Solarbabies is available for digital streaming on platforms including (via MGM+ add-on) and , frequently appearing in curated collections of 1980s cult films; no 4K UHD release has been issued to date.

References

  1. https://www.imdb.com/title/tt0091981/
  2. https://www.rottentomatoes.com/m/solarbabies
  3. https://www.justwatch.com/us/movie/solarwarriors
  4. https://www.rogerebert.com/reviews/solarbabies-1986
  5. https://www.nytimes.com/1986/11/26/movies/screen-solarbabies.html
  6. https://www.sciencefictionclassics.com/solarbabies-in-a-dry-and-broken-world/
  7. https://www.moriareviews.com/sciencefiction/solarbabies-1986.htm
  8. https://www.slashfilm.com/544080/solarbabies-oral-history/
  9. https://www.imdb.com/title/tt0091981/fullcredits/
  10. https://www.slashfilm.com/544524/mel-brooks-interview/
  11. https://catalog.afi.com/Catalog/moviedetails/57475
  12. https://thebedlamfiles.com/film/solarbabies/
  13. https://ew.com/article/2016/05/27/mel-brooks-solarbabies-how-did-this-get-made/
  14. https://www.imdb.com/title/tt0091981/trivia/
  15. https://www.imdb.com/title/tt0091981/locations/
  16. https://www.themoviedb.org/movie/36677-solarbabies/cast?language=en-US
  17. https://www.rollingstone.com/tv-movies/tv-movie-news/jason-patric-on-the-trail-of-the-elusive-actor-2-228207/2/
  18. https://www.tvinsider.com/people/jami-gertz/
  19. https://www.rottentomatoes.com/m/solarbabies/cast-and-crew
  20. https://www.mubi.com/en/films/solarbabies/cast
  21. https://www.broadwayworld.com/people/Charles-Durning/
  22. https://sites.google.com/site/80sfilmlocations/Film-List/solarbabies-1986
  23. https://www.ew.com/article/2016/05/27/mel-brooks-solarbabies-how-did-this-get-made/
  24. https://content.propstore.com/auction/emlaus24-1/catalog/EMLA-US_SPRING_2024_MY_Booklet_WEB_LO.pdf
  25. https://www.imdb.com/name/nm0249430/
  26. https://www.chicagotribune.com/1986/11/27/mad-max-et-dont-mix-well/
  27. http://nzpetesmatteshot.blogspot.com/2015/10/optical-effects-magical-moments.html
  28. https://www.latimes.com/archives/la-xpm-1986-11-26-ca-15507-story.html
  29. https://costumedesignarchive.blogspot.com/2023/02/solarbabies-1986.html
  30. https://www.the-numbers.com/movie/Solarbabies
  31. https://www.imdb.com/title/tt0091981/releaseinfo/
  32. https://www.letterboxd.com/film/solarbabies/
  33. https://www.upi.com/Archives/1986/03/04/The-15-billion-acquisition-of-MGM-UA-Entertainment-Co-by/7084510296400/
  34. https://www.avid.wiki/Metro-Goldwyn-Mayer_Studios
  35. https://www.boxofficemojo.com/title/tt0091981/
  36. https://www.broadwayworld.com/bwwtv/article/Mel-Brooks-Sci-Fi-Flop-SOLARBABIES-Made-Him-Ready-to-Jump-Off-a-Roof-20160528
  37. https://www.commoncrowbooks.com/pages/books/H35305/1986-press-kit-for-solarbabies
  38. https://www.ebay.com/itm/305645368967
  39. https://www.imdb.com/title/tt0091981/trivia
  40. https://siskelebert.org/?p=4475
  41. https://www.imdb.com/title/tt0091981/externalreviews
  42. https://www.rottentomatoes.com/m/solarbabies/reviews
  43. https://www.earwolf.com/episode/solarbabies-live/
  44. https://podcasts.apple.com/us/podcast/the-alexei-sayle-podcast/id1540500007
  45. https://www.joblo.com/solarbabies-mel-brooks/
  46. https://www.rottentomatoes.com/m/solarbabies/reviews?type=user
  47. https://www.imdb.com/title/tt0091981/trivia/?item=tr5958433
  48. https://www.youtube.com/watch?v=SlpIKEcOq4Q
  49. https://www.earwolf.com/episode/a-conversation-with-mel-brooks/
  50. https://audioboom.com/channels/5038428-the-alexei-sayle-podcast
  51. https://www.cracked.com/article_29035_a-sci-fi-roller-skating-movie-nearly-ruined-mel-brooks.html
  52. https://www.slashfilm.com/1606769/sci-fi-movies-bad-pulled-from-theaters/
  53. https://faroutmagazine.co.uk/movie-almost-ruined-mel-brooks/
  54. https://badmovietwins.com/2016/10/17/solarbabies-preview/
  55. https://www.ebay.com/itm/196629059718
  56. https://www.vhscollector.com/movie/solarbabies
  57. https://www.blu-ray.com/dvd/Solarbabies-DVD/3725/
  58. https://www.amazon.com/Solarbabies-Richard-Jordan/dp/B00000F6LL
  59. https://www.blu-ray.com/movies/Solarbabies-Blu-ray/107224/
  60. https://www.blu-ray.com/movies/Solarbabies-Blu-ray/142582/
  61. https://bluray.highdefdigest.com/31364/solarbabies.html
  62. https://www.amazon.com/Solarbabies-Richard-Jordan/dp/B0B63YJW6W
  63. https://tubitv.com/movies/466653/solarbabies
  64. https://reelgood.com/movie/solarbabies-1986
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