Arrow Home Video is releasing a new 4K edition of the classic Westworld (1973) sequel, Futureworld (1976). Featuring a rare archival extra, with a new commentary track and promotional material, this limited slipcover-with-booklet edition is available to order directly from Arrow or here in the States from MVD.
Despite original creator Michael Crichton’s refusal to be involved in a Westworld follow-up, for American International Pictures (who’d snagged the rights from MGM) it was a no-brainer. Smelling cash the company began working on a follow-up in the years after Westworld, work that finally produced Futureworld a couple of years later.
With Crichton out of the picture, AIP began the search for a new director, eventually picking television veteran Richard T. Heffron. The small-screen filmmaker had done some theatrical work, including another 1976 title Trackdown, but he was far and away known for his television films.
Cast-wise, AIP ensured that Westworld star Yul Brynner made an appearance after his iconic original turn. This resulted in a late-film cameo featuring Brynner in a dreamy Blythe Danner love scene. Danner is indeed Futureworld’s female lead. Like the film’s director, Danner was more known for her television work at the time of Futureworld’s release, although her turn opposite Jeff Bridges in Hearts of the West (1975) had drawn some attention.
For Futureworld’s lead, AIP went with an actor the company was extremely familiar with, legendary Peter Fonda. Closing in on a decade removed from Easy Rider, Fonda needed a hit as the string of mostly action films he’d been appearing in leading up to Futureworld weren’t exactly setting the screen world on fire.
Peter Fonda’s career should have been much different after his debut directorial piece, The Hired Hand (1971). This haunting masterpiece remains one of the great treasures of the early seventies, and few saw it. The film’s failure damaged Fonda’s blossoming career as director, as well as his position as leading man. In a way, Futureworld and the rest of Fonda’s filmography in this period is all due to The Hired Hand’s failure.
Strangely enough, among Fonda’s disappointing returns in this period was his second directorial title, Idaho Transfer. This science-fiction title shares some in common with Futureworld, making them an interesting double-feature for any looking to ‘hop-time’ with Peter Fonda.
Futureworld features a fairly large cast of players, including many familiar faces, especially for seventies television fans. Futureworld has a kind of big-budget television-film feel, which makes sense considering the talent at large involved.
One of Futureworld’s biggest pluses is the return of Westworld’s cinematographer, Gene Polito. Strangely enough, he’d also worked with Heffron on Trackdown. Polito does good work as DP here, and Futureworld is a nice, if not overly memorable-looking, film.
Futureworld also benefits from the return of Westworld composer Fred Karlin, returning for the film’s score. Around since the sixties, Karlin also worked much in television, although his big-screen credits were certainly nothing to balk at. His score for Futureworld is among the film’s highlights.
Futureworld did not repeat the success of Westworld. A financial and critical let-down, the film underperformed in pretty much every way. Westworld’s success ensured Futureworld an international presence, even in China, but there was no getting around the fact that the film was indeed a disappointment.
Futureworld doesn’t have a very good reputation and it never has. Despite the talent behind and in front of the camera there is just something not especially memorable about Futureworld. Part of the problem lies with the screenplay by George Schenck and Mayo Simon, which feels more connected to Invasion of the Body Snatchers than Westworld. Ultimately, Futureworld just isn’t an especially good film. Bummer, as it certainly could have been.
Arrow’s 4K of Futureworld looks and sounds outstanding. Considering the film’s look and sound are its best aspects, this 4K will be a treat for its fans. Extras are a little slim for an Arrow release. We get a great commentary track by historian Daniel Kremer, honest about the film’s failures while noting its positives, and a new interview with new video interview with producer Paul N. Lazarus III. We also get the rare NASA: Science Fact and Fiction, shot at the time of the film’s release. The limited booklet includes writing by David Michael Brown, Barry Forshaw, and James Rose.
-Jeremy Richey, October 2026-
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