Carriers

Trip Tease

Carriers
USA 2009
Directed by David and Àlex Pastor
Paramount Pictures

Warning: Spoilers may infect all readers and,
also, it’s an extremely short review... sorry about that.

Sometimes you just want to watch a movie, any movie, which reflects the current times in which you are living. So, for me, any kind of post-apocalyptic viral infection movie is game right now, to remind me that we are all in the same boat and, you know, as something I can get hints and tips from on how to survive because, if my own government keeps reacting to this stupid Coronavirus disaster in a way which makes it more protracted and less reversible, we might all be in the same situation the characters in films like this find themselves in at some point very, very soon.

So Carriers stars Chris Pine as Brian, Piper Perabo as his girlfriend Bobby, Lou Taylor Pucci as his brother Danny and Emily VanCamp as Danny’s friend Kate (that's Sharon Carter to all you MCU fans). They live in a world were a lot of the population has already died out from an unnamed virus and we join them, already on the road, in a stolen car as they are on a cross country road trip for a few days, to get them to a beach that Brian and Danny used to love as kids. Now, to me, this sounds like a bad idea to begin with. I mean, what do you do for petrol if you need it? Well, the answer seems to be you get lucky (or unlucky, depending on your viewpoint of how various things go down here) and steal it by force from other travellers who you, somehow, might meet on the way. Which seems pretty silly, especially when you realise just how bad things have gotten.

It’s gotten so terrible by the point that we join the four travellers that they’ve made up a set of rules to get them by, which are roughly summed up as follows:

1. Avoid the infected at all costs, their breath is highly contagious. 

2. Disinfect anything that they’ve touched within 24 hours. 

3. The sick are already dead, they can’t be saved.

So, yeah, a road trip to a favourite beach seems fraught with peril, if you ask me.

And the film does what it does, hitting all the expected points along the way. Chris Pine plays his character as an absolutely angry, low intelligence idiot. Literally the last person you would ever want to be stuck with if you were trying to survive the leftovers of a pandemic. The other three seem mostly level headed but this doesn’t stop them from occasionally, often inadvertently, breaking their own rules and getting heaps of trouble piled on them. And on their road trip, they reluctantly find themselves in a position to try and help a father (played by Christopher Meloni) and his dying, infected little girl get to a hospital which is ‘supposed’ to have some miracle cure (yeah, you can guess how that one pans out), come across a bunch of aggressive survivalists, hide from groups of people who hunt others and so on and so forth. They also kill innocent people to further their cause for the next full tank of gasoline and, inevitably, leave their own companions behind at the first sign that any of them are infected, putting them in a position at some point where one brother has to kill another so the pointless road trip can be continued.

The actors are all good and, while not remarkable, the film is competently put together and I had no complaints. There are also some nice little nods to science fiction movies from the past such as Mad Max 2 - The Road Warrior and A L I E N, among others I’m sure I didn’t pick up so, yeah, it’s an okay watch. The only real problem the film has is that, by the time two of the travellers finally make it to the beach, the objective of the trip has lost all meaning and there’s a point in the last ten minutes of the film where you really wonder why the characters are trying to fulfil that story arc at this point. So, by the end of the film, it all seems pretty pointless and downbeat. And, I get that this is kind of the point anyway but, you know, I already got that vibe from the start of the movie. It feels like there was never any progression to the story for the characters to be let down by at the end. I think there needed to be more of a point to their quest because, really, the disappointment voiced by one of the characters at the finish could easily be met by the audience with a collective shrug and the response... well yeah, what did you expect?

And with that... I don’t really have that much more to say about Carriers. As post apocalyptic movies go, it just feels kinda empty and undeveloped in many ways. It’s not something that’s going to haunt me at any point or even linger in my memory for much longer than me writing this review, I suspect. But, it is entertaining enough to the point that it held my interest for the short running time so, yeah, it’s certainly not a total loss. I wouldn’t recommend anyone go out of their way to watch it but I’m not giving up on finding another post-virus apocalypse movie that I can recommend. The hunt continues.

Spring

The Shapeshift Of
Springs To Come

Spring
USA 2014
Directed by Justin Benson and Aaron Moorhead
Metrodome Region 2

Slight warning-ish: Okay, there will be a very minor spoiler in here but it’s nothing that the directors don’t make implicit fairly on in the movie and also a main feature of the trailer so... if you’ve already seen the trailer you don’t need to worry too much about this review.

Spring is the second of three feature films from writers/directors Justin Benson and Aaron Moorhead and was made by them between Resolution (reviewed here) and their recent sequel to that film, The Endless (reviewed by me here). I was kind of on the fence about those two movies, to be fair but the trailer to this one looked much more engaging so I bought a cheap DVD copy of it and, well, now I wish I’d imported a Blu Ray of the thing from overseas because a) it looks fantastic and b) it's easily, for this audience member, the superior film and something of a minor masterpiece.

The film starts off with some brief, scene setting stuff in America with main protagonist Evan (played really nicely by Lou Taylor Pucci) looking after his mother and watching her die in bed in front of him. It’s a touching moment but the next scene, at a kind of wake after her funeral in a bar, something happens... the consequences of which are that Evan decides to get out of America for a bit. He ends up going to Italy and, for a while, he hooks up with a couple of British ‘townies’ who are almost half charming with their typical combination of football crowd thuggery and witty banter but after they leave for Amsterdam, Evan decides to stay around in Italy for a bit, getting a ‘work for room’ arrangement at a local farm. Some of that decision is based on the interest of an absolutely gorgeous looking woman called Louise (played by the astonishingly striking Nadia Hilker) who seems to take a shine to him.

Of course, as their relationship continues... well... the audience is let into the secret that there’s something not quite right with Louise. There’s something very ancient about her but what is it exactly? Vampirism? Werewolvery? Serpent lady? Well, there are times that you might think all three and each time you try and get a handle on things you are presented with something different. However, the explanation as to what is going on, as you will hear from Louise herself, is a fusion between science fiction and fantasy concepts with little hints of the horror film, all injected into what is essentially a romantic, boy meets girl kinda movie. And it really works at pretty much everything it does. The subtle holding back and tease of the main premise is timed just right and the way this is filmed, with long swooping camera drone shots of Italy used to punctuate the segues between scenes in certain areas, make this a work with more than one kind of eye candy to it.

It’s a beautiful looking film but, as well as that, it’s a great performance piece by the two central leads and it never really veers into ‘too intense to spoil the atmosphere’ territory. Indeed, there’s also a lot of humour and in one specific scene set in church towards the end of the film, the suspense is quite fraught. It’s also, however, a scene laced with laugh out loud humour and the way the directors/performers manage to hold both emotional states for a few minutes is quite special.

Another thing I would take my hat off to the directors for is a shot near the end where we’re looking up at Evan and a plane and its trail as it appears to go through the middle of his head in the background. I wonder how they managed to time that so precisely and whether this was a serendipitous occurrence or whether it was planned out and they somehow knew the flight paths.

The best thing about this movie, though, is the ending. Things are at their romantic best but, without giving anything away, the final shot of the movie, where the camera zooms into Evan’s face before zooming back out to return to the master shot, is absolutely brilliant and things in the tale could go either way at this point. It’s also fairly subtle as it relies purely on sound design and then a pull back into that master to tell the final piece of the narrative... the unconscious biological choice the audience has, by this point, been primed to anticipate. Now, there is another way this could have also ended beautifully utilising the same footage in a different way... by not employing certain sound effects and not zooming back out to the master... but the slightly less ambiguous ending the directors have gone for here works an absolute treat and, honestly, you’ll have to wait until the last few seconds of the movie to find out if you get the fairy tale ending you’ve probably been hoping for... Spring is pretty much an adult fairy tale, to be sure... or whether this is going to be a darker revelation. And I’m certainly not going to spoil anything here.

What I will say is that this is a truly great and, seemingly, hidden gem which deserves much more attention than I’ve seen it getting. I absolutely adored Spring and think more people need to know about it. It’s entirely different, thematically, from the other two films these people have made and if there are Lovecraftian undertones to the story in some respect, they’re altogether different from the hard Cthulhu sympathies of Resolution and The Endless. So there you have it. Spring is an absolutely brilliant movie for lovers of horror but, primarily I think, just lovers in general. I hope these two directors do more of this the next time around because, honestly, the world needs more of these kinds of pieces of art in it. Definitely pick this one up while it’s still around.