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Brambilla seems to be arguing that VR technology, despite being invented to facilitate communication, is actually eroding our ability to connect organically.īrambilla's criticism is highlighted by additional scenes of a functioning underground in the world of 'Demolition Man' where the impoverished long for meat, vice, and human connection. These themes certainly play into Brambilla's larger body of work that explores the relationship humans have with media technology, and how human connections have slowly mutated into the virtual as a result of that relationship. Brambilla's comment seemed to be against a certain kind of political correctness that would eventually lead to a vital disconnect from what is real.

The non-touching sex scene in ' Demolition Man' speaks to its criticisms of a polite society run amok, pushed headlong into prudishness. Toilet paper had been replaced by a mysterious device referred to as the 'three seashells,' and sex had been replaced by a strange VR helmet that could simulate touching without having to come into actual contact.

'Demolition Man' took place in a future where crime had been brought to an end, and society had evolved - or devolved - into a clean and ultra-polite semi-utopia wherein people no longer touched, everyone spoke in a concise and gentle fashion, and nearby machines would issue fines to anyone nearby who let slip a cuss word.

It was a notable film for its stars, showcasing Stallone's and Snipes' penchants for action, and offering blockbuster visibility for Bullock, still on the rise in 1993.

'Demolition Man' was a high-profile, big-budget studio tentpole that opened at #1 at the box office and made over $159 million worldwide. It's curious, then, that Brambilla's feature film debut should be something as boldly commercial - and as slickly exciting - as the 1993 sci-fi actioner ' Demolition Man' starring Sylvester Stallone, Wesley Snipes, and Sandra Bullock.

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