If you’re anything like me, a good post-apocalyptic flick will keep you glued to your seat, fingernails piercing the leather couch, posture tweaked into to a tense contortion. The problem is, extremely few post-apocalyptic flicks are genuinely good. Whether the error be flawed storylines, terrible dialogue or horrific acting, the sub-genre doesn’t have the greatest of reputations. That’s why Carriers wasn’t just a surprise, but a welcome differential to the sadly tired norm.
Writer/Director’s Àlex and David Pastor do a wonderful job of capturing the savagery of mankind, while still keeping a trace of compassion alive in even the film’s most vile characters. More than gore, startles or meaningless moments of excessive violence, the Pastor’s manage to focus on the idiosyncrasies and darker nature of mankind; while it’s a bit of a gamble in terms of pure thrills, it’s a gamble that pays off in a major way.
The cast is not only good, but excellent; each character is well defined via a natural onscreen presence. They are, quite simply put very well developed and extremely believable performers. It’s easy to imagine this as a factual experience, and the documentation of one of groups harrowing journey. That’s what is often referred to as extremely high quality acting. Given the relative youth on display, I’d call that a borderline act of perfection.
Now, don’t get me wrong, as there are certainly a few elements of the film which feel a little less than realistic. For example, the world’s been overrun and humanity destroyed by a viral pandemic, yet virtually every location looks to be a ghost town; extremely few bodies riddle the roads, abandoned cars are a thing of near nonexistent, not so much as stray animals wander the scenery. Rather than complete isolation, the effect feels a bit forced, and gains noticeability as the picture moves forward.
On the good side, that’s about the extent of negatives to find within this picture.
This tale of survival amongst half-dead-practically-zombie-freaks is beautifully memorable. The extend of emotions demanded by this young ensemble surpasses challenging. Their executions of each respective role is magnificent. Chris Pine is terrific as the sharp tongued tough guy who keeps this group of misfits alive. Lou Taylor Pucci is also quite engaging as the only human in the film still in touch with humanity. And both Piper Perabo and Emily VanCamp act as some of the strongest supporting characters you’ll find in contemporary horror. It’s a magnificent collection of talent, and every single performer turns in a job worthy of respect and praise.
The film, in a nutshell follows four youngsters in search of salvation. A virus has spread, humanity is extinct, constant danger looms and emotions run high. Throughout the film a few scenes feel like open tributes to late 70’s grindhouse films. While a few others (such as the primary encounter with the stranded Frank Holloway – Christopher Meloni – and his infected daughter, and a close encounter with a contaminated pool) offer a high level of drama, a close look at a few characters moral values, and some realistic scares. In the end it’s about who can manage to keep a piece of compassion alive, as they’re the few likely to manage to escape with their lives.
The ups and downs fall in frequent succession. The frights emerge in awkward moments that make them, ironically far more frightening and we’re provided pivotal moments that bare heavy relevance of the film long before the pictures finale. There are a few small surprises in store for viewers, but this one isn’t about suspense; it’s about the study of human nature, and the extent man is willing to travel to ensure self-preservation.
OVERALL SUMMARY
One of the most compelling post-apocalyptic journeys in years, Chris Pines performance is moving on a multitude of levels; amazingly the rest of the cast keeps up!
