★★ / ★★★★
A deadly virus ravages the world in Àlex Pastor and David Pastor’s thriller starring Chris Pine, Lou Taylor Pucci, Emily VanCamp and Piper Perabo. The four struggling survivors of the pandemic agreed to adhere to several rules that they thought would ensure or at least maximize their chances of survival. However, when they ran into a man (Christopher Meloni) and his infected daughter (Kiernan Shipka) in the middle of the road, it seemed that nothing would go according to plan. From reading several synopses, I got the impression that this was going to be a zombie flick. It actually wasn’t because even though there was an infection (thanks to “28 Days Later”), the people who died did not rise from the dead and start chasing people. It was simple: you get the virus, you die. I was really into the first half of this picture because of the chemistry of the four main characters. They were all very different and I liked them because they weren’t afraid to have fun even though death was all around. I even thought to myself that I wouldn’t mind being stuck with them if there was a pandemic of such calamity in real life. However, the second half became a little too serious and the pacing began to slow down considerably. For instance, the extended scenes in the fancy hotel was completely unnecessary. I thought it would be a perfect opportunity to deliver the creepy atmosphere and maybe some disgusting rotting flesh because the place was huge. Unfortunately, the movie did not use that setting in its favor. The moral conundrums the characters were put into were interesting in the first half but they became heavy-handed during the second half. The decisions the characters had to make did not affect me in the slightest. They seemed like completely different people compared to the beginning. I felt like the Pastor brothers’ writing became preachy (pardon the pun) and it got stuck. It would have been nice if none of the four got infected because right from the very beginning, I just knew that some (or possibly all) of them would die. I could tell that the directors wanted to do something different so I didn’t understand why they didn’t risk it all. Nevertheless, I say “Carriers” is a decent Friday night rental considering the level of thought that was put into the material, the charismatic actors and the limited budget. One should not expect the movie to be a horror film (as I did). There were a couple of shocking scenes but that was about it so it really was more like a thriller.
Black Irish (2007)
★★ / ★★★★
Here’s another indie film that suffers from the Everyone Must be Depressed Syndrome. After all, it’s about an extremely dysfunctional family whose members are emotionally distant from one another. Michael Angarano plays the youngest of the McKay family and is surrounded by people he wants to look up to but are often disappointed with them: a father who keeps secrets and seems to have no positive outlook on life (Brendan Gleeson), a mother who cares too much about what other people would think so she guilts her children into doing the “right” thing (Melissa Leo), a brother who everyone gave up on because he can’t control his criminal proclivities (Tom Guiry), and a pregnant sister who wants to escape her family’s suffocating environment (Emily VanCamp). Even though each of the actor is featured and sewn into the big picture in some way, I felt like it was too forced. Stories about families must be organic because they have a natural connection to one another despite their idiosyncrasies. Angarano is really coming into his own; he’s come a long way from “The Brainiacs.com” and “Will & Grace.” Like in “Snow Angels,” he’s able to add layers and complexity to his character even though the movie is barely above mediocre. As for Guiry, I’m tired of seeing him as a damaged tough guy like in “The Mudge Boy.” Whatever happened to that nice harmless kid in “The Sandlot”? Even though I think he’s extremely talented, I think he’s repeating the same characters. I knew Emily VanCamp would have no problem with the dramatic scenes. Ever since “Everwood,” she proves to me time and again that she can look sad without trying. In essence, I felt that Guiry and VanCamp are merely cruising along and that really frustrates me because I know they can perform at a higher level. Perhaps they could have done so if the writing and direction (both credits go to Brad Gann) are sharper. Since this is Gann’s directoral debut, clichés tend to pile up on one another. But the nice thing about this movie is that it offers the characters some kind of hope at the end of the tunnel. Even though that hope is somewhat bittersweet, it’s what the characters desperately needed (so did the audiences). I also liked the fact that not everything in the film is solved because it gives the picture some sort of realism. I’m not against recommending this film because it does have some memorable scenes. But I’m not going to enthusiastically recommend it either because it has the kind of story that has been featured by better films.