Tag: post-apocalypse

The Hunger Games: Mockingjay – Part 1

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★★★
“The beginning of the end.”

mockingjay1The makers go the Twilight and Harry Potter route here, dividing up the final entry of the series into two parts – presumably so as to maximize revenue. I can’t say how justifiable that is, or how this entry relates to its inspiration, because unlike the other two films. I have not yet read the last book. With this being a “half adaptation”, I didn’t want to end up getting ahead of myself, though I’ll probably end up doing so between now and when the second half comes out, in November. What was notable – and somewhat disappointing – is how passive heroine Katniss Everdeen (Lawrence) had become. After spending the first two movies taking the battle to those who sought to repress her, albeit more by accident after her sister was unfortunately selected for the Hunger Games, we left her having escaped the system’s clutches and flying to the legendary District 13, not quite as destroyed as she thought. Here, we discover they had retreated underground, and were now continuing to foment revolt against Panem. They want Katniss to be the figurehead for their rebellion.

And that’s the key word here: figurehead. Outside of a morale-boosting trip to a hospital, which goes horribly wrong, she doesn’t do much [as an aside, I was left wondering if those running the rebels knew or expected the trip’s repercussions, but did so deliberately that they could exploit the consequences for their own ends]. For instance, there’s a rescue mission sent into the capital to retrieve Peeta (Hutcherson), but Katniss stays at home – instead, it’s led by the other corner of that love triangle, Gale (Hemsworth). About the only sequence with any protracted sense of danger is when she’s running around the rebels’ complex, trying to find her little sister and their cat, before a government bombing raid reduces everything outside the deepest levels to rubble. While somewhat reminiscent of Ripley going off to look for Newt at the end of Aliens, it really isn’t anything like a substitute for the linear and more effective approach taken in the first two films. As noted, however, it’s probably unfair to judge this as a standalone film, and it should really be seen as the first half of a single, four-hour epic. I trust the remainder will take care of the action shortcomings here.

What works well, is the increasing awareness of, for want of a better phrase, shit getting real. This isn’t a televised spectacle any more, whose impact is limited to those about whom Katniss cares: it’s much broader in scope, and you can see the weight hanging on our heroine’s shoulders. Credit also due here to Julianne Moore as President of the rebels, Alma Coin, who has an over-arching world view that Katniss can’t quite see initially. But by the end of it, you get the sense she has become rather more pragmatic and realistic about the situation. Later this year, we’ll see how the whole saga wraps up, and I’m just hoping it’s more Lord of the Rings than The Matrix in terms of series finales. It has already reconstructed the landscape for action heroines, showing they can hold their own and appeal to a broad audience. But we still need the last installment to be a rousing success, both financially and critically, to keep pushing the genre forward into 2016, and beyond.

Dir: Francis Lawrence
Star: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson

Kite (live action)

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★★
“A two-dimensional adaptation of two-dimensional animation”

kite_ver3_xlgLoosely based on the notorious anime, this relocates things to South Africa, after a financial crash has turned everything into a giant slum, and human trafficking gangs operate with impunity. Sawa (Eisley) is on a mission, searching for the Emir, the leaders of one such network, whom she blames for the death of both her mother and policeman father. She’s helped, as she works her way up the chain of command, by her father’s colleague, Karl Aker (Jackson). He provides her with some literally whizz-bang equipment, in the form of bullets that explode a few seconds after they’ve embedded themselves in you, and also keeps her dosed with “Amp”, a drug that lets her forget all her killing, but at the cost, eventually, of also making her forget the parents for whom she is seeking revenge.  Throwing another spanner in the works is Oburi (McAuliffe), a young man Sawa encounters, who seems to want to help her, yet also knows more about her parents’ deaths than he initially lets on.

One wonders if this might have been better served under original director, David R. Ellis, who died in South Africa during pre-production – this would have re-united him with Jackson, since Ellis also directed Snakes on a Plane. Certainly, Jackson seems to be phoning his performance in – though better that, I suppose, than the yelling which characterizes many of his recent roles, and it’s still above the 100% forgettable McAuliffe. Ziman’s pedigree is… Well, almost non-existent, with Gangster’s Paradise: Jerusalema his sole directing credit in the dozen years before Kite. This feels largely like someone tried to make a Hit-Girl movie, but based on third-hand descriptions of the character. Though Christopher Tookey, the now-unemployed (hoorah!) critic who whined about Kick-Ass fetishizing paedophilia, would have had his head explode during the scene where Eisley (19 during filming, but playing way younger) grinds in her underwear on top of a middle-aged man. Watching it uncomfortably, I kept expecting Chris Hansen to come out of my kitchen and say, “Why don’t you have a seat over here?”

There are some moments of visual style, with good use of aerial cameras, and the action is decent to solid, being well-constructed and executed. If you’ve seen the clips we have previously posted, then you’ll understand why they chose to feature them, because it’s the stuff between the action which is the problem here. You’re always skating on thin ice when you’re using amnesia as a key plot point in your movie, especially when it’s the particularly cinematic form seen in this case, where memory inevitably returns at the most dramatically convenient moments. It has to be that way, because if Sawa remembered at any other time, the entire story would collapse in on itself, long before you reach the “surprise” revelation, which will still come as a shock to absolutely no-one. Eisley, whom you may recognize from Underworld: Awakening, does okay, but compared to, say, Chloe Moretz, makes almost no impression at all. Much the same is true of the film as a whole.

Dir: Ralph Ziman
Star: India Eisley, Samuel L. Jackson, Callan McAuliffe, Carl Beukes

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Prehistoric Bimbos in Armageddon City

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★★
“Video sleeve not relevant to movie inside”

prehistoricIt’s hard to be critical of a film for being cheap, when the movie is not only aware of its own cheapness, but wears this on its sleeve like a badge of honour. “So what if I’m made entirely by amateurs with their pocket-money,” it seems to be saying. “We didn’t care, so why the hell should you?” I could list all the flaws here – crappy sound, low-quality video, acting your local amateur dramatic group would reject, awful use of stock classical music that would make Gustav Holst spin in his grave – but its response would simply be “…and your point is?” In the interests of space, let’s largely take those aspects as thoroughly read, and get on with the rest of our review. The setting is Chicago, and far from Armageddon having hit, it looks pretty much like the city we know – trains run in the background, for example. There is some introductory guff, which is hardly convincing, and nor is there anything particular “Prehistoric” about the leading ladies here, beyond a bit of fur trim.

You’d certainly be forgiven if confusion set in through a first ten minutes that can only be described as incoherent. There is a pretty good reason for this, however, in that it’s actually a quick rehash of Sheets’ previous film, Bimbos B.C., which leads into the story here. It’s relevant, as the predecessor was (apparently) mostly concerned with the search through Armageddon City by our heroines for an antidote so one of their number can be cured after being nibbled by one of the local monsters. This brought them into conflict with Salacious Thatch (Bernier), whom they defeated and apparently killed. Whoa, not quite so fast, ladies. He actually survived, being outfitted with a cyborg arm by Nemesis (Vollrath), and kidnaps the bimbos from a foraging mission under temporary leader, Gabrielle (Starr), enslaving them in his mine [Quite what they are digging for in Chicago, I’m not sure. Deep-pan pizza, possibly] But there’s trouble up above, as Thatch is seeking a return to power, now held by Nemesis…

As noted above, it’s practically critic-proof in many aspects, because it just doesn’t care. I will note my disappointment that during the second half in particular, it focuses far more on Thatch + Nemesis than our heroines. In particular, there’s a long chase which starts out in cars, downgrades to pedal bikes, and ends up on skateboards. It’s not as amusing as Sheets thinks. But I have to say, the “home made” robots are quite lovely, truly evoking the B-movie spirit apparently being aimed for. Without a strong tolerance for micro-budget cinema, this is quite probably unwatchable. Even with such, this feels like it overstays its welcome, even at less than 70 minutes.

Dir: Todd Sheets
Star: Holly Starr, Robert Vollrath, Deric Bernier, Veronica Orr

How I Live Now

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★★★
“My Sweet Sixteen Teenage Armageddon.”

howilivenowThe extraordinarily surly teenager Elizabeth (Ronan), who loudly insists on being known by everyone as “Daisy,” is sent from American to spend the summer in rural Britain with relatives. Unsurprisingly, she hates it – at least, until she meets Eddie (MacKay), a local brooding hunk for whom she falls. Fate throws a spanner in the works, however, as escalating tensions eventually lead to a nuclear attack on London and the outbreak of World War 3, against an un-named foe. The kids try to fend for themselves, but the boys and girls are forcibly separated, with Daisy having to take care of young cousin Piper (Bird). Turning her willpower to topic other than, as she says, not eating chocolate, she and Piper escape the camp where they are being used as forced labour, and begin the hazardous trek back to where Daisy is sure Eddie is waiting.

The best thing here by far is the heroine’s character arc. In the first two minutes, it’s established what a totally unlikeable bitch Daisy is: she has clearly made up her mind to hate the trip and everything about it, and the audience hates her for the obvious narcissism. But by the end, she has been forged in the fire of adversity and completely transformed in just about all aspects of personality, to someone who has learned that it’s much better to live your life for others than for yourself. As Chris noted, it’d be funny if the whole thing had just been a set-up by her (unseen) father, just to teach his whiny daughter a good lesson. That isn’t the case: what it is, is another powerhouse performance by Ronan, backed by solid work from the rest of the young cast, particularly Piper, who could gives the likes of Abigail Breslin and Dakota Fanning a run for their money in the Adorability Stakes.

Probably the main weakness is the abruptness of the relationship between Daisy and Eddie. It probably needed more time taken to develop it, because as things stand, it seems Daisy falls head over heels for him at about the second glance. On the other hand, I’m quite glad it didn’t because it’s the kind of standard, young adult cliché which we’ve seen far too often before [this was based on a book from the genre by Meg Rosoff]. Much more satisfying is the second half, when Daisy is forced entirely into relying on her own skills, and becomes a much more interesting character as a result. Director Macdonald got his start in documentary film-making and brings much of the same urgency to proceedings here, not soft-pedalling the brutality and violence of armed conflict. Like a more contemporary version of The Hunger Games, it shows how inner strength can be found in the most surprising of places, and Ronan cements her position as one of the leading young action heroines in Hollywood.

Dir: Kevin Macdonald
Star: Saoirse Ronan, George MacKay, Harley Bird, Tom Holland

Iron Girl

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★★½
“The Somewhat-magnificent One”

Iron-Girl-2012-Movie-PosterThe introduction tries to make it seem as if this could take place at any point in history, but there’s not much effort put into maintaining the illusion. The guns and overall setting – best described as “distressed warehouse” – puts this firmly into the post-apocalypse genre, though it’s very much at the bargain basement end of the spectrum. The heroine (adult actress Asuka) stumbles across naively innocent Anne (Akiyama), being pawed by some bad guys after straying into the danger zone to pick flowers; clearly a kinder, gentler apocalypse. After punching them out, assisted by remarkable reactions and her metal exo-skeleton, Anne is escorted back to her warehouse village, where we discover they are frequently raided by the Crazy Dogs gang.

They are under the imaginatively-named Crazy Joe (Koga), who looks a cosplay version of Captain Jack Sparrow, down to the headsquare and mascara. The village elder pulls out a parchment and pronounces “Iron Girl” to be the saviour of prophecy, even though she has no memories of her life, or even her name.  The Crazy Dogs are less convinced, though come around after a fat minion and his low-level sidekicks are dispatched, and Anne’s brother, who has been re-programmed to forget his original identity, has his brainwashing undone. Joe and his sadistic girlfriend decide to pop over for a visit, to find out what all the fuss is about. Turns out, he and Iron Girl have more than a little in common…

I suppose, for what this is, it’s okay. However, what it is, isn’t much to begin with. There’s never any feeling of a convincing setting, the characters are paint-by-numbers, and the action is neither realistic enough to have any impact, nor stylized and excessive enough to be entertaining. Nagamine seems to know only one approach: slow down the action, to give the impression that Iron Girl is moving much faster than she actually is. It’s not very effective, and it’s also incredibly overused. The low-budget roots are also apparent, in an excess of static, talky scenes where people are just sitting around and talking. However, it’s not all bad. Asuka does a decent job as the stoic gunslinger without a past, and despite my snark above, I actually enjoyed Koga’s scenery chewing, which is entirely appropriate for the villain in this sort of thing.

Undemanding fans of SF will probably find this an adequate time-passer, and I likely fall into that category myself: it has just about enough action to sustain interest, especially in the second half. However, anyone going off the title, and expecting something even vaguely along the lines of a certain Marvel superhero film, is going to be horribly disappointed. So it’s probably about managing your expectations. The lower those are, the more likely this is to reach them.

Dir: Masatoshi Nagamine
Star: Kirara Asuka, Rina Akiyama, Mitsuki Koga, Yasuhisa Furuhara

Die Wand (The Wall)

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★★★½
“Alone again… Unnaturally…”

diewand4This is a very different kind of GWG film: indeed, it could almost be called an inaction heroine movie. It starts from a very simple presence. A woman (Gedeck) wakes up in a cabin in the Austrian Alps. When she tried to head to a nearby village, the path is blocked by an unseen, impenetrable barrier that has sprung up overnight, and now defines the boundary of her world. Everyone outside is dead. What do you do? How do you survive, both short- and long-term? Could you handle the loneliness? Can you retain your humanity, when you are, apparently, the only human being left?

These are the questions which this film is interested in asking – much more so than prosaic ones, such as “Who put the wall there?” or “Can you maybe dig under it?” If you’re looking for a definitive resolution, go elsewhere too, because the film simply ends when the woman has to give up keeping her journal, because the supply of paper has run out. I suppose, technically, that’s a spoiler, but this is a film where it’s not the destination that matters, it’s the road which takes you there. And you’d better be able to handle a lot of voiceover, because there’s almost nothing else here. Normally, I regard voiceovers as a cinematic cop-out, for when you can’t be bothered to write dialogue or action; but, considering the heroine is virtually the only person you see over the course of the film, they’re basically essential here, and even in subtitles, have a poetic quality that is generally effective.

Admittedly, for long stretches, there’s nothing of significance going on, and if you’re not in the mood for some (very picturesque) navel-gazing, the lack of activity could become aggravating. However, I can’t say I was ever bored at all, and I’m quite surprised by that, since I am more likely to be seen tapping my foot impatiently, if ten minutes go by without a giant fireball. The cinematography, combined with the Alpine scenery, is quite luscious, and so even during the quieter moments – okay, quieter half-hours – this remains a visual treat. Gedeck’s performance is full of quiet strength; she simply gets on with the business of everyday survival, despite the bizarre twist life has taken. I suspect I wouldn’t handle the same situation anywhere near as well as her character does, and It’s that inner depth of fortitude, which makes it fit in here, despite the low-key nature of the content.

This is not the kind of film which necessarily creates any immediate impression. It finishes, in the same laid-back manner as the previous 105 minutes have unfolded. But over the days which followed, I found myself thinking about the questions it raised, and how my answers differed from the heroine’s, or where they overlapped. This lasting impact is one of the things which is generally the mark of a good film; it stays with you, when more ephemeral pleasures have been forgotten. While entirely devoid of pyrotechnics, this is still one which I’ll probably want to revisit and chew over again.

Dir: Julian Pölsler
Star: Martina Gedeck

Cleopatra 2525: season one

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cleopatra2525a★★★
“After the apocalypse, crop tops will fortunately not be in short supply.”

When Hercules: The Legendary Journeys ended its run in January 2000, producers Renaissance Pictures looked to replace it, but instead of going with another hour-long show to follow the hit Xena, took the unusual step of making two, 30-minute action series. This was a break from normal practice: half-hour comedies were standard, but for shows like these, it was a format which had not been seen since the seventies. The second was Jack of All Trades, starring Bruce Campbell as Jack Stiles, a wisecracking spy for the US at the turn of the 19th century. The first was radically different: a SF saga, set 500+ years into the future, when robots have driven humanity, literally, underground.

Waking up here is Cleopatra (Sky), a 21st-century exotic dancer who got frozen after a boob-job went wrong. She’s rescued by Hel (Torres, who’d go on to cult stardom in Firefly) and Sarge (Pratt), part of a team fighting the robots, which are known as ‘Baileys’, their human-imitating agents called ‘Betrayers,’ and dealing with the anarchic and dangerous life beneath the surface, guided by a voice in Hel’s head, that organizes the anti-Bailey resistance. [In the original pilot, that voice was Lucy Lawless, but she ended up being replaced by Elizabeth Hawthorne] Cleo gradually becomes part of the team, being the viewers’ voice in the dystopia of 26th-century life, while Hel and Sarge represent the brains and brawn of the team.

cleopatra2525cAll three, however, were clearly selected as much for their visual appeal, and the 25th century is not short of beautiful people – it’s also quite warm, going by the ah, flimsy clothing worn by the trio. Cleo and her former profession fit right in. But taking any of this seriously would largely be doing the show a disservice, because it’s clear it doesn’t take itself seriously. There isn’t really time for that kind of thing, with each episode barely 20 minutes, excluding opening (theme song sung by Torres, a funked-up and lyrically altered version of Zager and Evans’ one-hit wonder, In the Year 2525) and closing credits. There isn’t much time for anything, in fact: both characterization and plotting remain about as scanty as the outfits. Hel is thoughtful but can be distant; Sarge likes shooting things first and asking questions later; Cleo, to be honest, is mostly irritating, coming over as both whiny and rather vacuous.

At least in the first series, the storylines don’t focus on the Baileys as much as I remembered. The heroic trio also find themselves taking on evil clown Creegan, against whom Hel has a personal grudge (for good reason), or psychic Raina, who can not just read your mind, but implant suggestions in it. The latter was a personal favourite villainess, played by Danielle Cormack, who is a veteran from Xena, having played Amazon Ephiny there. That’s true for much of the cast: Sky read for the part of Gabrielle, but also ended up playing another character, Amarice, while Pratt was Cyanne, the Queen of the Northern Amazons. Torres was on the show too, though not as an Amazon. Perhaps more confusingly though, she played Cleopatra – the Egyptian version, not the stripper one.  There’s also a considerable overlap of directors who worked on both shows.

Cleopatra is generally more consistent in tone: that may not necessarily be a good thing, as one of the joys of Xena was seeing it swing from mass crucifixions to musical numbers. It does make Cleo less suitable for binge watching, because the episodes exhibit a certain sameness that grows somewhat repetitive after a while: three was about my personal limit, so not much more than an hour, before the titular heroine started to grate on my nerves. But in the show’s defense, it wasn’t created to be viewed like that, and in 20 minute chunks, generally manages to be energetic and action-packed entertainment. Outside of the Raina episodes mentioned earlier, I particularly enjoyed Run Cleo Run, a take on one of my most beloved films, Run Lola Run, that somehow manages to be even more hyperkinetic than the original – though with a less kick-ass soundtrack.

Star: Jennifer Sky, Gina Torres, Victoria Pratt

"In 20 minute chunks, generally manages to be energetic and action-packed entertainment."
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The Hunger Games: Catching Fire

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★★★½
“Still not as good as the book.”

catchingfire2It took a little way into 2014 for it to get there, but Catching Fire overtook Iron Man 3 to become the biggest-grossing film in the US, released in 2013. What’s particularly stunning about that is, it’s the first #1 film for a year, with an woman as the unequivocal lead, in four decades. And depending on how you view Linda Blair in The Exorcist, you might have to go back even further, to Babs Streisand in 1968’s Funny Girl. It indicates just how far this series has redrawn the playing field: there can no longer be any credible claim, as heard after the failures of Catwoman, Aeon Flux, Cutthroat Island, etc. that action heroines are, per se, box-office poison.

I was really looking forward to this, too, having enjoyed the second book more than the first, and with the reviews for the cinematic part two also an uptick better. And… S’alright, I suppose. Though that’s a bit unfair: it’s mostly disappointing only in relation to my increased expectations. On any other level, this is very solid cinema, with Lawrence continuing to provide a steely, resourceful heroine who breaks the mould. But I’m still finding myself on the outside, looking in – observing Katniss, rather than feeling for her. If there’s an emotional heart here, it hasn’t been beating in synch with my own; when this ended, I turned it off, went to bed and forgot all about it.

There were a couple of ways in which it felt deficient to the book, even though it’s still an extremely faithful adaptation, with virtually every incident being reproduced, in a way not far off how my mind’s eye saw them. “Virtually” might be important there. Even at 146 minutes, I got the feeling some key elements were watered down. For instance, the film doesn’t do a good job of explaining why Katniss decides that Peeta must survive at all costs. In the book, it’s clear that it’s because she believes only he can lead a rebellion, with her role being to make sure he lives to do so. Of course, the Peeta in these films doesn’t exactly come over as a teenage Martin Luther King or Gandhi: he seems there more as a cuddle-buddy for Katniss, when Gale isn’t around [thankfully, that love triangle seems pushed further into the background this time around].

HGCF_KATNISS_75J_PLAK_D_CMYK_300_A4.inddThe same sense of dilution goes for both the attacks and their results in the film version, with neither packing much wallop. A number of Katniss’s friends and allies are killed in this one, but none have as much punch as their most obvious counterpart in the first part [name omitted, just in case anyone reading this hasn’t seen or read it!]. Finally, and to some extent contradicting what I said in the opening paragraph, our heroine isn’t less the focus here, as she was in the first film, where she all but flew solo in the Games. Again, it plays differently from the book, whose first-person narration ensures that Katniss is put squarely front and centre: this entry feels more like The Expendables, with a team-based approach to the process. To some extent, this does make sense, however: one of the themes here, is the ripple effect of Katniss’s victory and how things are not longer just about her survival. The gradual realization that this is now much larger, plays a major part in the lead-up to the Quarter Quell.

Which brings me to the things the film does well, because the set-up, as Katniss and Peeta go on their “victory tour” of all the districts, is quite exquisite. Right from the first stop, where a supposedly celebratory rally ends up diverting far from what the authorities want, after the couple abandon their bland, pre-prepared speeches, you get a real sense of rising revolt. What also comes across well, is the sense of large-scale discontent, even among the power elite in the capital: witness the reaction to Peeta’s (fake) announcement of Katniss’s pregnancy, or the costume designed for her, which contains a none too subtle reference to the rebellion (and for which its designer pays the price). As a work of political subversion, this is far superior to the likes of V for Vendetta, and the dystopia depicted, in all its brutal coercion, is undeniably chilling.

It does suffer somewhat from “second film syndrome,” though stands alone much better than, say, The Desolation of Smaug. Proceedings end on the same cliffhanger as the book: while Katniss was fighting for survival, the powers that be were taking care of business elsewhere. I haven’t read the third volume yet, and am torn between doing so before I see the next film or after it. Complicating matters, the last book, Mockingjay, will be pulling a Harry Potter or Twilight, and becoming two films, to be released in November 2014 and 2015. I’m a bit dubious: the book is barely half the length of either of those volumes, and we’ve seen with The Hobbit, what can happen when material is stretched too thinly. Against that, due to its first-person narrative, the book is likely much more limited in its ability to depict the obviously impending global revolution, and one imagines this will be expanded upon in the two parts of Mockingjay.

One thing seems little in doubt. By the time the series in finished, Lawrence will have the number one, two, three and four box-office hits in action heroine history, and may even have the first billion-dollar global entry. That can only be applauded.

Dir: Francis Lawrence
Star: Jennifer Lawrence, Josh Hutcherson, Sam Claflin, Woody Harrelson

"By the time the series in finished, Lawrence will have the number one, two, three and four box-office hits in action heroine history, and may even have the first billion-dollar global entry. That can only be applauded."

Bounty Killer

  By

★★★
“A taste of anti-paradise”

bountykillerSomehow, I get the feeling I should have liked this more than I did. The elements are all these – high-energy, hyper-violence and no shortage of style – but, somehow, the whole felt rather less than the sum of its parts. It’s a post-apocalyptic scenario, after the corporate wars have pretty much trashed the planet, and the Council of Nine hand out rewards for the deaths of white-collar criminals. These are collected by the titular hunters, the best being Drifter (Marsden) and Mary Death (Pitre) – the latter is a star, followed by fans and paparazzi, much to the chagrin of the former. However, the Council suddenly issue a kill notice for Drifter; he heads to confront them and sort out the “mistake”, with Mary in hot pursuit, intent on collecting the bounty. Of course, and after quite a bit of the old ultra-violence, Drifter and Mary team up, to take down the real bad guys.

An adaptation of a graphic novel, it does, at least, a better job of capturing the grindhouse philosophy than the limp Machete Kills. The inspiration – actually, it’s more shameless plagiarism – is more Mad Max 2, particularly in its stubbly hero and an extended chase sequence across the desert, in which he’s chased by a pack of nomads with painted faces. That’s perhaps the problem, because Drifter was a great deal less interesting than Mary Death to me; Marsden delivers a bland performance, over so much screen-time that this almost didn’t meet the necessary minimum standards for GWG qualification. I could also have done without the embarrassingly blunt attempts at “satire”, which feel like they came from an earnest late-night session at a liberal arts college. It’s not clever and it’s not funny.

But the bits that work, work quite nicely. There’s a great scene where Drifter is being yelled at in a soundproof office by the lead villainess (Loken), who is oblivious to the mayhem being wreaked by Mary on the other side of the glass. Indeed, virtually every time Ms. Death is on screen, the interest level increases significantly, and not merely for the obvious reasons. Pitre struts, stomps and raised the sardonic eyebrow to such impressive effect, that you wonder why you’ve never heard of her before. If Drifter is reheated leftovers of every post-apocalypse hero from the past 20 years, Death gives us something new. Hopefully, if there’s any sequel, Marsden will be “unavailable”, and the makers can concentrate much more on the heroine.

Dir: Henry Saine
Star: Matthew Marsden, Christian Pitre, Barak Hardle, Kristanna Loken

The Day

  By

★★½
“After the apocalypse, there will be blood. Oh, yes: there will be blood…”

There are times when not saying too much can work for a film; Night of the Living Dead is the classic example, and it works, because you don’t need to know why there are zombies. Just that they are. A similar approach is taken here: you’re dumped more or less into the middle of a post-apocalyptic scenario, with five people wandering the wilderness. They take shelter in a farmhouse, only to discover it’s actually a trap for a cannibalistic tribe living nearby. The group’s leader, Adam (Ashmore) believes Mary (Bell) deliberately led them into the house, but she convinces them she is a member of a different clan, with just as much reason to hate the cannibals. Knowing they would rapidly hunted down if they tried to make a break for it through the open countryside, the prepare to defend the house against those outside, who want to have them over for dinner. And I mean that, in the most literal sense of the term.

Bell, previously, best-known for playing a possessed girl in The Last Exorcism, is an effective and impressive bad-ass in this movie, gradually moving from the side to centre-stage. There’s also little no attempt to make her prettified: understandable, given the situation, but it always kinda irritates me when heroines are miraculously immune to damage, and always immaculately made-up and coiffured. Definitely not the case here. However, the lack of any significant explanation does damage proceedings, because it means things appear to unfold simply because they need to for the plot, without any other justification: there’s no scene-setting to make them logical. Why did these people turn to cannibalism? What happened to destroy civilization so completely? Unlike NotLD, these are relevant questions, that the film stubbornly refuses to answer. While cheaper aspects, such as the few sets and small cast, are explicable by the budget, more exposition would have been welcome.

I did like the visual style, which is muted, to the point of often almost becoming entirely black and white: there’ll be a single object painted in colour to stop you from getting up and adjusting your set. But rather than a fully-fledged movie, it feels like an single episode taken from a long-running TV series. While it’s one I’d be interested in watching, thanks largely to Bell, as a stand-alone feature, it doesn’t quite work, and feels like a good idea in need of significantly more development.

Dir: Douglas Aarniokoski
Star: Ashley Bell, Shannyn Sossamon, Shawn Ashmore, Cory Hardrict