Trancers
His name is Jack Deth, a hunter of Trancers, a hard-boiled future cop in a trench coat with a scar down his face, slick hair, and really pissed off attitude. His wife was killed by a cult leader named Whistler whose group are not dead, yet not quite alive, moving into the minds of the weak, the ones that can be controlled. Jack thought he "singed" Whistler (once the bodies of those invaded are dead, they turn to ash), but his adversary merely "went down the line", meaning escaped into time travel, returning to December 1985.
Whistler is hunting the ancestors of Angel City's High-Ranking Officials of The Counsel, killing them one at a time so that once he returns to the future he'll rule without interference of a high power to stop him. Jack is "transfered" to his ancestor, Phil, a photographer (a womanizing "shark" with lots of pictures of babes he's bedded), and at the moment he is in 1985, the latest lay, played by a terrific Helen Hunt (she's a natural, so young and lovely, with some blue in her hair, some spunk, wit, energy, and pizazz; it's hard to imagine this was the same Hunt dancing in amongst a bunch of punks in some CBGB style bar, later starring as a yuppy wife on Mad About You) getting dressed as Santa's elf (this is near Christmas). But Santa is a Trancer, nearly killing Jack, and this is where Hunt's Leena gets inadvertently involved. Leena knows 1985 Los Angeles (in 2247 it is called Lost Angeles, the City of Angels buried underwater after "the great quake"), and Deth needs her directions badly, but something else happens along the way: they fall in love with each other. In the form of detective Wiseler, Whistler now has a lot of power at his disposal, LA's finest. Once the second member of the Counsel is eliminated thanks to his ancestor's demise (this guy was a tanning salon employee, another weak vessel to invade and dispose of...), only Chairman Ashe (Anne Seymore) remains so Deth will have to find her ancestor, only a baseball card to guide him, soon learning that this man, Hap Asheby (a funny Bif Manard, making the most of his fifteen or so minutes on screen), is a drunk bum living on Skid Row. Yes, this is an 80s movie so bums are essential. Some bum humor at the character of Asheby's expense, such as his smell, false teeth, clothes, and resistance to getting a bath. It all comes down the final showdown as Whistler has decided to go rogue and handle Deth on his own (the major flaw in the film would have us believe he wouldn't have officers in blue, under the Trancer spell, stationed in different areas to kill Asheby and assault his great nemesis, Deth), holding Leena hostage. This movie uses the James Bond model of "field toys" to lend Deth a hand when in sticky situations. Unlike the Bond films, however, producer/director Charles Band has a small micro-budget to work with so all Deth gets is a watch that halts time, twice this comes in handy, once to get past police and Whistler, another to save Leena from a building fall. Two vials are in a gun meant to send Deth and Whistler back to the future, but that plan hits a snag.
I have loved this movie since I was a kid. For a long time, all I had was a VHS recording thanks to my uncle who had taped it from HBO in the late 80s. Then Band released the film on a barebones dvd that was essentially the VHS film, but I was just happy to have it. I looked at this film closely for reasons why it continues to be a pleasurable experience, and I believe it is the undeniable chemistry between Tim Thomerson (who is just at home and completely comfortable in this role, perhaps why he came back to it time and again is remembered for Jack Deth above most parts) and Hunt; they share some sweet moments while evading Trancer police and Whistler, while trying to stay alive. I really thought the scene where Hunt realizes Deth's character loves her and is moved by it, leading to an affectionate kiss, is why this film endures. The characters are colorful and fun to spend 70 minutes with. I always find these pre-stardom parts fascinating, and Hunt is especially likable, with a great scene where she drives a motorcycle through a window, wishing the renter of the apartment a Merry Christmas.
The director shoots a lot on the streets of LA, mostly on the less-than-spectacular spots (not the most flattering aspects of the city are shown) which I totally dig, and the budget is on the low side with director Band having to do what he can with the money he has. I figure a lot of the city scenes were shot illegally, which might be why we don't see the usual tourist stops. I judge the fun value of a movie by how I feel when it is over. And I'm always a bit bummed that the movie isn't a bit longer; I felt the ending is a bit rushed, but that's probably because the money run out. 
Thomerson is another reason the film just remains a good time. He gets to talk tough, with a little gruff and attitude, wear his collar out with that Bogie trench coat, but also lets his guard down for Hunt, offering affection and unveiling his feelings for her while attempting to keep her out of harm's way. He tosses out quips, punches faces, adjusts to a whole new enviornment (the fish out of water formula just flat works, and well), and reacts to a brand new world, fresh and new. Along with a love interest and the pursuit of Asheby, Thomerson just has a field day. 
"Dry Hair's for squids."
"Security, we're having trouble at the North Pole."
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