The year is 2080 and the war between the cyborgs and humans has ended, now living together in uneasy peace. Also, all cyborgs now have pieces of metal stuck to their faces just above their noses and have odd markings (crappy face paint) which make them look like they have strange skin conditions. A priest prepares to take a confession from a woman, but in fact she’s just there to kill him – plunging her hands through the barrier separating priest from confessor and frazzling him with some sort of electro-grip-thing. Making her escape we see that the killer is in fact Alex (still Sue Price) - the muscular, genetically enhanced human sent back to the 1980’s to protect her from the human/cyborg war in the future, where she was meant to be the last hope for humanity. I guess she was a big disappointment seeing as they humans and cyborgs just called a truce anyway. So anyway, she escapes from the church, pausing to look at a mysterious woman decked out in black who sort of shimmers in a cheap b-movie sort of way. Alex presses on and takes out some random thugs. They were all ready to shoot her when they see that she’s got her black plastic trenchcoat half-open, revealing nothing but her naked chiselled body and breast implants underneath. Totally transfixed by, well I actually have to idea, they stand motionless while Alex (possibly dubbed) asks “do you hear angels crying?” before shooting them.

Ready for another job Alex goes to see her cyborg boss Bernardo (Andrew Divoff! What the hell is he doing in this?) who insists that Alex has to quit, as she’s been getting sloppy and endangering herself too much. Alex agrees to do one last job, pick up a cyborg guy that has twisted taste in cyborg women, take him somewhere quiet and kill him. Alex gets naked with the guy in the back of his car but quickly dispatches him, squeezing the sides of his head with her muscular thighs while he spits up lots of weird goo. Getting dressed she makes to leave the scene when she sees that another killer, a cyborg named Earl Typhoon who she is currently having a relationship with, is waiting for her in his car. They proceed to have some sort of bizarre cyborg sex which involves a probe coming out of Earl’s stomach and inserting itself into an unidentified orifice on Alex’s body. I vomit. After they’ve finished, Earl breaks the news that Alex just killed the wrong guy and that he’s been sent to kill her (bloody quick eh?), but he’s no match for her deadly thighs and also bites the big one, though he does get a good stab into her abdomen before he croaks. Alex staggers out of the car and goes looking for help, but now a price has been put on her head because she’s actually killed the son of a powerful crime boss. Every assassin in the area is after her now and she must find a way to survive so that she- zzzzzzzzzzzzzzzzz.

Albert, Albert, Albert, what in the hell is this? Even with the minimum of effort I’ve put into my synopsis for this utterly irredeemable cinematic effluence it sounds much more interesting than it actually is. There is just so much wrong with this film I hardly know where to begin. The first problem with this film is that its just so incredibly, mind numbingly, face twitchingly boring! Made around the same time as the other two Nemesis sequels its like Pyun was only given the budget for one sequel, but he somehow managed to stretch it out to make three movies. He must have been practically out of cash by this point, because this film consists primarily of people standing around talking in as dull, stilted, and uninteresting a manner as possible. Bernardo tells Alex what a freak she is and that she should retire – DON’T CARE. Alex talks about how she thinks angels smile or cry depending on whether you’re going to heaven or not – DON’T CARE. Earl drones on about how Alex is weird because she likes to have sex with her victims – DON’T CARE. Another cyborg talks about his sad upbringing and how it made him into a twisted killer – FOR THE LOVE OF GOD I DON’T CARE! The writing is abysmal and isn’t helped by the dire cast, Sue Price looks very uncomfortable whether she’s clothed or not and if her voice really was dubbed, its no surprise nobody else gave her a job as beyond having a muscular body, she’s dead weight and her talents are clearly not in the sphere of acting. The rest of the cast are of a similarly poor level despite their best efforts, and my heart goes out to Andrew Divoff being trapped in this movie, after really enjoying him as the Djinn in the first two Wishmaster movies its difficult to watch him being totally wasted here, especially as he was the most talented member of the cast they had.

What this film suggests to me, through its long drawn-out prose and moody filming techniques, is that Albert Pyun has it in his head that he is a stylish, thoughtful director. Perhaps he believed he was making some sort of film-noir techo thriller, but the fact of the matter is he can’t write decent stories to save his life, heck I was giving people headaches just trying to relay the plot of this film to them! Some of his previous films, including the earlier Nemesis flicks had too much uninteresting talking and a confusing plot, but here its taken to extremes mostly because it doesn’t seem they could afford to do anything more worthwhile with the film. Here the viewer is forced to sit through so much bemusing nonsense that it numbs the senses, making things even more tedious. Albert needs to take a step back and take a serious look at his writing, because when you’re trying to write a serious sci-fi thriller, giving characters names like Earl Typhoon and Johnny Impact isn’t going to give you much credibility, and he must also be the millionth person to call a character ‘The Mother’. What makes matters worse is that Nemesis 4 also wants to be soft-core sci-fi porn. The scene that was meant to represent sex between Alex and her cyborg companion was just vile and I can’t imagine what possible reason it was included for other than to extend the pitiful running time. If that wasn’t sleazy enough, it sure must have been hot on-set because Sue Price spends most of the film naked, showing off her rock solid rear-end while Pyun’s camera takes every opportunity to leer over her naked body, giving us lots of close-ups of her obviously fake breasts. I have no problem if Albert has a thing about overly muscular women with fake breasts, but if he could play out his sexual fantasies in the privacy of his own home in the future instead of trying to present it to us as entertainment, I would be most appreciative.

This is a despicably bad film, though it must be said that without the crass exploitation, brain meltingly dull story, and use of clips from the other Nemesis movies, this film wouldn’t have even been an hour long. As it is its barely over 70 minutes but expect those minutes to crawl by like a millennia in purgatory, punishment for giving Albert Pyun your money. This film sat unreleased for a few years after production, and it’s a wonder that it was even released at all, and even more of a wonder that Albert Pyun can still get directing jobs with this film in existence. A diabolical waste of time, effort, and money which could just have easily been used to make a previous sequel less bad, but was instead used to alienate anybody foolish enough to still rent his films. The plot itself also has very little to do with the previous films in the series and the way that the title of the film pops up twice, one time as Nemesis 4: Cry of Angels and then later just as Cry of Angels, its almost as if the Nemesis name was tacked on to try and make the film more appealing. HA! Watch this and you’ll end up feeling more violated than Sue Price’s unidentified orifice.