One of my all-time favorite movie subgenres is the The Internet is Trying to Kill Us thriller, in which mundane online user-interface tech is transformed into a horrific menace that’s aiming to destroy us all. The genre was still in its infancy in the mid-90s at a time when The Internet was just starting to invade our homes, which gave early specimens like The Net a growing-pains conundrum on how to translate online imagery & lingo into traditional studio thriller beats. As a result, that film spends a lot of time following Sandra Bullock around irl as baddies erase her identity online – a compromise between the cyberthriller and the traditional action film (as opposed to more recent, fully-immersed Internet Thrillers like Unfriended). Looking back on the Arnold Schwarzenegger action flick Eraser now, over two decades after its release, it’s a film that feels equally paranoid about the advancement of 90s computer tech and the flimsiness of personal identity in the Information Age as The Net, but it makes even less of an effort to translate that Luddite unease into new cinematic language. Eraser turns the fears surrounding computer tech’s intrusion into American homes into a villainous threat by manifesting it as a big scary future-gun. It’s the most direct, literal approach to the topic possible, and it’s charmingly boneheaded as a result.
The future-gun in Eraser doesn’t shoot bullets, but rather electromagnetic impulses. Its viewfinder display is designed like the sickly green MS DOS grids that decorated far too many cyberthrillers in the 90s, most notably The Matrix. Instead of merely offering the gun operator night vision, this feature allows them to see through walls & bodies like a digital X-ray machine. The gun is designed for military use (and, naturally, falls into the hands of international terrorists), but it’s almost exclusively deployed in domestic settings throughout the film. Characters who threaten to expose the government’s mishandling of the gun’s development and sale are shot at with “electromagnetic impulses” through the walls of their own homes in the Washington D.C. suburbs, so that computerized technology is literally invading their domestic spaces to destroy therm. Vanessa Williams stars as a military-weapons detractor who steals the designs for this future-gun on a miniature CDR, so she is pursued for the disc in the exact way Bullock is pursued for her own forbidden floppy disc in The Net. The only difference here is that Arnold Schwarzenegger is heroic for erasing her identity online as a way of protecting her as a witness. The tagline even boasts, “He will erase your past to protect your future.” Sill, the flimsiness of identity in the digital age is a premise the film banks on to hook the audience, and the film shares a lot of thematic & aesthetic preoccupations with The Net even if it replaces the ethereal qualities of The Internet with a physical “electromagnetic” gun.
Eraser only has one foot in the future of Internet Age techno thrillers. Everything about the film besides the future-gun and the erasure of online identity records is very much rooted in the familiar tropes & imagery of the Schwarzenegger action canon. The film opens with a suiting-up montage (one of many) where Arnold loads down his muscly body with superfluous weaponry. He dresses in almost the exact leather jacket outfits he already self-parodied himself for in The Last Action Hero four years prior. Every time he enters the frame he’s accompanied by guitar-solo theme music announcing his heroism. Most dialogue consists of 90s-era action movie one-liners as Schwarzenegger goes about the business of saving the world from terrorists & cyberguns, including the title-riffing quip “Smile. You’ve just been erased.” Within this familiar framework, Eraser can only stand out on the strength of its individual set pieces, of which ether are two absolute stunners: one where Arnie jumps out of an airplane without a parachute and one where he kills a room full of baddies by releasing CG alligators at the zoo. The gators sequence stuck with me in particular as a kid, being the only detail I vividly remembered about the film besides the cybergun. I was glad to confirm on revisit that the gator stunt is extensive, featuring far more CG chomping action than necessary to get its point across. If only they could’ve found a way to arm the gators with their own cyberguns to tie the sequence into the film’s larger themes of technophobia . . .
I wouldn’t vouch for Eraser’s excellence as an especially exceptional example of Arnold Schwarzenegger action cinema, nor as a clear early entry in the Evil Internet canon. The evil-clone movie The Sixth Day might even be a more calcified example of an Arnie film that directly engages with the technophobia of the early Internet Era. Still, there’s a kind of distinctly 90s anxiety about computerized technology invading suburban homes in Eraser that makes it just as fun of a dated watch as more explicitly Internet-dreading thrillers like The Net. Besides, it really does have some of the best gator-flavored mayhem you’re likely to see in a big budget action movie of its ilk, a novelty that cannot be undervalued.