Seth Larney’s climate change sci-fi ‘2067’ is frustratingly mismanaged. With such a clever concept behind it this is one of the misfires in it’s field that is a bit harder to take, playing with time is never an easy endeavor and in all honesty looking upon its stripped back storyline ‘2067’ fiddles with the concept in a way that you just can’t help get pulled in by. Is it enough to turn heads away from some pretty poor performances in the cast and odd creative decisions perhaps not, however the intrigue of the idea itself does have the capability to retain interest.
Larney’s idea of a future not so far down the line is quite clearly a bleak one. With the planet facing collapse and the human race on the brink of extinction all ecological life has been overrun by humans and the Earth’s air becomes subsequently unbreathable as a result of a global disease. This leaves Ethan Whyte, the orphaned son of the scientist whom developed a one way time machine to push 407 years into the future in search of a cure. No doubt about it ‘2067’ is pretty clearly pushing the idea of a race which failed to recognize climate change at the forefront of issues some years prior.
Let’s start with the casting performances. Though he wasn’t the protagonist Ryan Kwanten as ‘Jude Mathers’ is probably my pick of the bunch and even he didn’t put in a performance to be raved about. Kodi Smit-McPhee puts in a strange up and down type of performance as ‘Ethan Whyte’ in which he had some moments of quality and equally so quite a few moments that mustered a deserved cringe or two. Deborah Mailman was stiff and unnatural in her role as ‘Regina Jackson’ and Aaron Glenane wasn’t terrible but most of the time just added to the awkwardness of the scene, and the rest of the cast were, to put it lightly, pretty poor.
Visually though this film is stunning, something made all the more impressive considering the fact that the piece was filmed entirely out of South Australia. Sci-fi is a genre in which astounding visuals are becoming more commonplace with each addition to the field but there is no doubt about it ‘2067’ looks good. Whether it be the serene green forests of the future or some awesome zoom outs of Ethan standing atop a cliff, for a clearly low-budget Aussie work you have to appreciate the vision and standard of visuals that ‘2067′ has to offer.
The main problem with ‘2067’ is the plot management. The sheer amount of cringeworthy moments in this film don’t help you take it seriously and as the film takes steps to progress it seems to have the idea that the emotional intensity of the plotline does tenfold. This means that there are countless scenes of Ethan crying, breaking down or just outright screaming at nothing out of the blue that seem to make absolutely no sense whatsoever and are pushed in a film no way deserving of them given the events prior to those breakdowns. The inconsistency of emotions and abrasive character decisions come with little to no contextual reasoning and the onslaught of cliques doesn’t do ‘2067′ any favors either.
The actors aren’t great, but as far as the main two go it seems that they put in what they could for a poor writing and directive effort which misuses them in almost every faucet, but the idea is conceptually intriguing enough to retain your attention. ‘2067‘ is one of those movies that you pay attention to just in order to see how the events unfold, even though a fairly lackluster ending awaits.
‘2067’ boasts all the tools for a quality sci-fi film, a quality idea, decent actors in the main roles (though less to be said for the supports) and some stunning visuals to pack a punch, but it still no doubt underperforms. Poor writing and several cringeworthy scenes along with a muddled direction can be attributed as the main catalysts for the lackluster nature of ‘2067’ which whilst very intriguing out of the gate, begins to crumble and fall apart from there.