Instead, it’s more that “#Alive” hardly tries to do something new, and leaves its few surprises to a loud jump scare here, or a nifty zombie kill there. There’s nothing all that original about “#Alive,” which has an extremely similar premise to the superior 2018 French film “The Night Eats the World,” and yet such unoriginality is not the biggest issue. But true to the story's sentimentality, good news often comes with all too convenient timing. “#Alive” is one of those zombie movies that simply looks at the apocalypse as a test about choosing hope-sometimes they struggle with it, especially as they often have to fight off the hordes of zombies coming their way. Their goal is to survive, something that's emphasized by these two strong lead performances, a very basic message, and the narrow plotting in Matt Naylor's script. But as she gets her own screen-time in "#Alive," her can-do character is more of an embodied attitude than someone to deeply care for, making her part of the story as shallow as his. She too has figured out her own system of survival, and is even craftier (as with a chair with spikes that's used as a trap for her front door). He video-logs his emotional journey as things get worse when food starts to run out, and loneliness starts to really kick in, making for some all-out emotional work from Yoo. Right before he gives up permanently, he learns of another tenant, Yu-bin (Shin-Hye Park) across the way. But that towering kind of self-assurance also means he can fall just as hard. From the beginning, he tells himself that he will survive, and organizes his food, insulates himself indoors, and even drinks some of dad’s fancy booze. When a mysterious virus turns his fellow citizens into flesh-eating monsters, Jun-u chooses survival. Given that the movie echoes modern isolation in more ways than one, it feels like a totally missed opportunity, in which the movie's surprisingly self-serious tone is partially at fault. He's more of a stand-in for generic young folk, presumably to let them fill in the blank. During these moments, he’s not very interesting, or exciting to be stuck with. Before everything falls apart, we learn that Jun-u is a tech-savvy, PC gamer who lives with his parents in an apartment complex in Seoul. Such is the case when your lead character is underwritten, even if the actor playing him is especially charismatic (Ah-In Yoo, previously of " Burning"). Instead, “#Alive” merely lurches from mediocrity, and despite a relatable depiction of one man quarantining from a deadly virus, it's the blood-covered zombies who are much more fun to watch. But the loathsome leporid is keeping his real intentions hidden from them: to destroy all the eggs entirely and, in the process, Easter itself.The thrills come sporadically in Il Cho's “#Alive,” a zombie movie that would stand out so much more if it had even just a little personality, or a twist to add to the cinematic tradition of zombie apocalypses. Leo, a failed academy pupil, takes his grievances to the band of forest-dwelling foxes who want to take over the egg racket. But he makes a formidable enemy when he humiliates bad-boy rabbit Leo while – in the now obligatory social-media shoo-in for kids’ cartoons – the latter is livestreaming to his fans. Max has the honour of being the first city rabbit asked to join the master rabbits. Its difficulties are evident as Ute von Münchow-Pohl’s film can barely summon any interest in its own lead character, aspiring young rabbit Max. But its scatty plot, about a group of master rabbits responsible for distributing Easter eggs and the jealous foxes who wish to supplant them, was seemingly cooked up by someone slipping into a chocolate-induced coma. P ossessed of a truly eggsecrable subtitle – Mission Eggpossible – this Easter-themed German animation probably supplies just enough frantic hi-jinks to keep small children mildly absorbed over the holidays.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |