dir: Alex Garland | USA | 109 mins
In 1996 Independence Day shocked American audiences with the cinematic destruction of the White House. Almost 30 years later, having witnessed the real life desecration of sacred symbols in the storming of the Capitol, not by aliens but by American’s own self-styled ‘patriots’, the danger from within is more tangible than any foreign threat.
Alex Garland springs back after the terrible Men with a much more satisfying action thriller. Set in a near future North American dystopia seen through the questioning lens a rookie photojournalist, Garland deftly swerves any political rhetoric, remarkable in a film set against the overthrow of a US President. A few wry moments of dialogue swiftly set up the situation nicely, and the first third both introduces us to our quartet of intrepid investigators and defines the witty premise before the real journey begins.
Garland is best in the quieter moments, and despite this being an action film there are plenty of these to enjoy. The characters are effectively journalistic archetypes we’ve seen many times before – the wise but infirm mentor, the eager but naive rookie, the wisecracking adrenaline junkie, and the battle-hardened but haunted veteran. But their interactions and characters are winning and I enjoyed spending time with them.
As always, Garland manages to find moments of surprising beauty, often in nature. Even a green field can be calmly lovely, and a simple vibrant shock of magenta foliage behind a cobalt blue hose drew some gasps. Garland relishes the beauty of a nocturnal drive through forest flames and a galaxy of glowing orange embers, the aesthetic counterpointing the narrative despair.
Similarly, the strong soundtrack by Portishead’s Geoff Barlow bookended by tracks by synth rockers Silver Apples and Suicide offers often ironic tonal contrast to the action.
Although it brings to mind the episodic journeys of Apocalypse Now and Children of Men as well as nods to Night of the Living Dead and towards the end the thrills and political ambiguity of Zero Dark Thirty, there are enough near contemporary references such as BLM police violence and Capitol attack to give this an immediate resonance. It’s just not entirely clear what Garland’s trying to say.
Nevertheless it’s an often exciting journey with some moments of real tension. Jesse Plemons (Dunst’s real life husband) has a small but chillingly dangerous appearance. The story arc of the two female leads is enjoyable albeit rushed and lacking emotional depth, but when Garland turns up the intensity in the final act, it’s thrilling stuff.
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