When you start recognising the landmarks that low-budget movies are filmed around (either Canada or Eastern Europe), it’s a good sign that you’re perhaps wasting your life. And that’s sadly how I felt when giving yet another post-fame Christopher Lambert movie a try – a potentially interesting dystopia ruined by a lack of anyone seeming to give a damn.
Incompetence is handy, in a way. If you see it early on, you know you can mentally check out, start thinking about what you’re going to have for dinner, pay attention to the cat that’s climbing all over you, that sort of thing. So, right at the beginning of this movie, when we get both a text info-dump and then, immediately afterwards, a guy narrating the plot to his grandson, you’re all “ah, they’ve had to do all this to explain this garbage, it’s going to suck”. But in case you’re not sure, or you’re one of those innocent fools who insists on giving a movie a fair crack of the whip, here goes.
After environmental disaster, a virus hidden underneath the rain forests is set loose, and wipes out more than three-quarters of the world’s population. Some scientist guy invents Absolon, the drug that holds back the virus’s progress, but needs to be taken every day and the UPC corporation controls the drug. Plus, we don’t have money any more but time – Lambert’s character Detective Norman Scott says he only earns 500 hours a week – which seems somewhere on the pointless/confusing axis; although if you’re a primacy junkie, you could note that the Justin Timberlake movie “In Time” used the same concept several years later, only they bothered to make it work.
Some other scientist guy (I think, although it might have been the same one) has managed to invent a complete cure, and naturally UPC aren’t thrilled with this, so boss guy Ron Perlman sends agents from the World Justice Department to kill him. He hides the disk with the important information, under his desk in an envelope which luckily the bad guys don’t think to look for, and for reasons too tedious to go into Scott and his team only have three days to crack the code on the disk, find the antidote and start producing it. Scientist guy’s old assistant Dr Claire Whittaker (Kelly Brook) helps Scott out, and the two of them go on the run, with the cops helping them and the WJD trying to kill them.
Along with a few twists and turns, that’s pretty much it for the plot. The thing I like about conspiracy movies like this is how quaint they seem in the post-Wikileaks world. While our governments haven’t tried anything quite this evil on us yet, all they’d need to do would be to claim the scientists were socialists, or Islamic sympathisers, and gangs of thugs would do their work for them and no-one would take the antidote, even if it were free. That they go to such lengths to suppress it, and are so absolutely terrible at hiding their global conspiracy, is like a relic of a far simpler age. There’s secret handoffs of documents, sneaking “clean” phones to your partner, all that Cold War-looking stuff.
“Absolon” is awful, of course. Lambert was clearly coasting at this point in his career, and looks washed out; him being the love interest of Kelly Brook, 22 years younger than him and (to be fair) way way out of his league, is worse even than the Hollywood standard. This is Brook’s first push into the US market, as this was from roughly the same time she was doing her recurring role on “Smallville”, leaving her days of TV presenting in the UK behind. It was the start of a decade or so of small roles on film and short recurring roles on TV, and from here she certainly got better at acting, although not too much admittedly. Talking of odd acting, Lou Diamond Phillips and Ron Perlman clearly realised what sort of movie they were in quite early on and just chewed scenery and shouted randomly – plus, I’d lay good odds on Perlman only being paid for a day or two, as he shares basically no screen time with the rest of the cast and does his entire part from one office. Lambert’s cop sidekick Ruth (Roberta Angelica) looks like a reject from some mid 90s rave movie, all wild hair and with the crop-top / ultra-baggy trousers combo.
Even ignoring the problems that come from this being a cheap TV movie (budget, filming schedule) it’s no good. A script which feels like it sat in a cupboard for 20 years from a scriptwriter who made a weirdly large number of Christopher Lambert movies, a director who should stick to the storyboarding where he seems to have most of his credits, and a cast who seem unsure why they were all brought together.
Rating: thumbs down