TWENTY TWENTY-FOUR is nice little psychological thriller of the sci-fi variety, with shades of 2001 and “Do Androids Dream of Electric Sheep?”, that conveys the importance of human contact while pointing out that mankind’s self-destruction IS indeed just that – of the SELF variety. It makes for a fun mix and the film is carried well on the shoulders of Andrew Kinsler (essentially the only person in this film). It’s not something I’d gush over, because it’s a concept that’s been done again & again and this didn’t really cover any new ground, but this IS a remarkably put-together indie film that looks good, has good acting and is more than worth a watch.
“A lone scientist maintains an underground bunker for the coming global nuclear disaster. But after becoming prematurely isolated, he slowly begins to question his own reality and whether he is truly alone.” ~official tagline.
Roy (said scientist) has been underground in this bunker for an undetermined amount of time already ・say a few months? – getting things ready so Operation Switch-Out/Priority One can happen (you know the one, where the world is going to end but an elite few are selected to live to repopulate and rebuild earth?). It’s his job to make sure everything’s tip-top, then it’s back to the surface to die for him, while Priority One moves in to live (un)happily ever after, which frankly sucks. If I’m giving up my time and life to fix up your safe house that is humongous, fyi the least you could do is let me live in a closet, just sayin’. In the meantime, Roy works away with only a computer program that he’s named Arthur to keep him company. You guys know the drill from there. Our friendly resident computer starts acting a little strange (am I dreaming?), an accident happens (early nuclear fall-out!), and our boy, Roy, starts to lose his shit…or does he? Maybe he’s totally sane…who knows?
This reviewer doesn’t because of the entirely too vague ending. It was interesting because Roy had these…dreams, I guess…that showed strange things happening, that ended up being premonitions because they came to pass. Maybe not all but most. But the end of his dream didn’t happen even though he was in the right place for it to and everything looked the same. Instead, things took a left turn and went on (then doubled back, meandered through the forest, and finally jumped in your face and yelled boo!). But I digress. My point is that the ending was left open for interpretation which is always awesome, but it was left just a little too wide. I was disappointed I just watched a whole movie only to NOT have any clue what was happening…nothing, nada, zilch.
Otherwise though, the movie is good. It looks excellent, the bunker is wicked cool, like, I-want-to-go-explore-it cool. There are some great shots in here that play with light and dark, as well as reflections. The soundtrack is perfect (screechy violins for the win!). Andrew Kinsler does a swell job of convincing us that he’s losing his grip on reality ・his maniacal grins are perfection. (Be forewarned though, that the character of Roy is kind of a prick, so if you’re like me, by the end you may not care whether he’s dead, alive, or in some dark place of his mind). And it’s timely, playing on universal fears of global war and mass destruction. What can I say? Brits just know how to make a damn fine film. If TWENTY TWENTY-FOUR had covered any new ground, I would raise it’s score to excellent in a heartbeat.
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