Daniel Delaler in 40 acres.
Photo: Magnolia Pictures/EVERETT
Dysopian imagination is often renovated so that it is sometimes difficult to distinguish between the end of the world on the screen from the other. At the beginning of RT Thorne’s 40 acresFor example, we were told that an innate pandemic killed almost all animal lives 14 years ago. This then led to a civil war, which led to famine, and now we are in a world where “the most valuable resource is agricultural lands.” This looks enough, but the film’s depression belongs to a series connected with any number of works from ten, 15 or 20 years. You expect half of Viggo Mortensen and Kodi Smit-McPhee from Road To walk through the frame, or to our heroes to run to Ralph Finn from After 28 years Somewhere along the way. Who knows, perhaps Foreiusa It will also appear. Or these war correspondents from Civil war. All of these stories differ after prior treatment – some are better and more exciting than others – however numbness that settles in their aftermath can feel the common and fashionable form.
40 acres It is a Canadian movie trying to find his distinctive way to get close to the Resurrection Day scenario, although many of his movements are somewhat routine. With the presence of precious agricultural lands and those who wander, the former soldier Haley Freeman (Daniel Detwell) and her first husband, Galen (Michael Gracem), runs a narrow ship with their families, which include the adult Ibn Hailey, Emmanuel (Catome O’Connor). All children know how to fight and deal with weapons. They were told to read Broitari pocket book (A. The real chapter book It contains inspiring quotes from revolutionary stars such as Karl Marx and Malcolm X) and immediately doubt that any strangers. There is a long history here, as the title of the movie suggests. Hili’s ancestors settled this land in Canada after fleeing from Georgia after the first civil war. Revolutionary posters and books that revolve around her home are not just modern resistance materials; They are partially speaking to this family’s rejection of the concept to put their confidence in institutions or others. This serves them well in their current predicament: the opening sequence shows a family that gives a group of men who suffer from their lack of clearly connected (and one woman) trying to deal with the farm. We were told that there are packages of human meat translated into the calm countryside.
Despite the qualitative tones, this is not an actual movie, or even a lot of excitement. Most films focus on Haley’s cruel love and refusal to allow the outside world to enter, literally and spiritually. She speaks regularly on CB radio with a nearby farmer (Elizabeth Sonders) who took in some lost children, but Healy has nothing of this; She accurately tends to herself. Which causes tension with Emmanuel curiosity in a way that wants to explore the area and meet people, and one day on a wonderful young woman (Melkania Diaz Rojas) swim in a near river. Again, familiar preparation; The excessive father of protection in his sub -models is almost today.
While Deatwyler has repeatedly proven her tremendous talent in other films, she gave a severe personality here to the extent that her performance stems frustrating. The fun behavior of the fun, salt, salt, disturbs Haley solid. Gallin is a man who illuminates his face when discovering the forgotten cache of spices (“people kill for these things”, screaming, carrying a jar of saffron-words that will be proven, of course, the prophet) and that fly in Farhan’s anger when his children discover some of the non-open fast barbecues. It is an interesting contrast, and one hopes that the film will give us more interactions between Galen and Hailey, a little more than this family’s life outside its rituals, which are uncompromising and its qualified preparations to the inevitable.
Director RT Thorne brings exciting structures, moves his camera well, and can kill an effective killing – all the skills that you likely serve well in future efforts. But in the end, 40 acres It annoys a more rough and interesting movie, which delivers it. Certainly, the issue of the race in the post -treatment that causes calibration is a provocative issue, but the film mostly pays the service of the lips, and instead chose for the general pieces and two embarrassing speeches. (Also, it does not really explore the basic separation between the supposed activity of this family-all of these stickers for Fred Hampton, and that resistance wrote, everything that talks about the proletariat and the evils of capitalism-its modernity.) And most importantly, the characters never come to life. Technology is great and everything, but any story should explode about parents and children, especially in such harsh conditions, with emotional and human resonance. Otherwise, what is the point? It is just the end of the world.
