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Once again, the people of Earth have polluted the old planet. An alien race that looks like veloceraptors has offered them a solution. Eventually all Earthlings will be able to transfer to a planet where they can escape the problems. This focuses on a man who prepares the people to travel (to jump, as they say). He lost his wife to the polluters and his daughter is back on Earth. He meets a young woman who is about to engage in the process. Unfortunately, once a person leaves, the original body must be destroyed. This is usually no big deal because the body is just a shell. This jump, however, doesn't go as planned. While she makes it to the planet, her body is still alive and aware. To "balance the equation" the dinosaurs require the man to kill this woman. This is the complicating factor that must be dealt with. Of course, it's all about our humanity and what we must do for the greater good. It is presented in an interesting way and works pretty well.
*** This review may contain spoilers ***
I have to admit I'm not the biggest fan of Enrico Colantoni (just personally rubs me a little cold), but he's a handsome guy who is quite present on screen. Here he's a tormented, sad soul who lost his wife thanks to Earth's polluted air (yep, the green message is a consistent sci-fi theme seemingly open to be juiced from a fruit without end) and has now holed himself away with a dino member of a particular alien race of pacifists offering humans a chance to travel in a device which moves (or "jumps", the title used for the process) them to planets with breathable atmospheres and rich environs (so we can further pollute other worlds, right?). The jump process initiates a "body transfer" with a "shell" remaining for just a few seconds before it dies called redundancy, there's "two of the same person", the version left on the station must be killed because you can't have a duplicate "doppelganger", the aliens won't allow it. A woman, Kamala (Linnea Sharples), working on a doctorate who will be studying on a planet with the lifeforms there, has a certain charm that appeals to the lonely and still-in-mourning Enrico. When the process is "disturbed" by a "miscalculation", the shell emerges alive while the "real Kamala" is on the planet as planned. The duplicate Kamala is almost identical in every way to the real version now gone to her intended destination, and when Enrico is told by the alien (Sillion, a rather abrupt, of-few-words dino creature who expects orders to be carried out as the transport device is a "gift to advance the human race") to kill her, he resists. Earth sends a Psych-Ops shrink (David Lewis) to monitor Enrico, much to his chagrin. But when Enrico has doubts about murdering Kamala, such a pleasant and lovely human being regardless of her status as a "redundant dup", he's placed in a tough spot: if he doesn't kill her, Sillion's race will relinquish the travel tech from the humans they so desperately need in order to rescue the remaining Earthlings still stuck on the poisonous-air planet. The central dilemma facing Enrico really has dramatic merit, and the "human race versus one life" argument never seems to lose its salt. While I'm not all that crazy about Enrico as an actor overall (he's very Jan Michael Vincent, to me), he is good enough here to parlay the terrible decision which is thrust upon him. Does he spare Kamala II and risk losing his daughter (back home with her grandparents) the chance to travel to another more habitable planet? His broken countenance at the end when Kamala I returns sums up how such a decision is a weight few would want to bare. The special effects and sets aren't bad at all, but this is more about the angst against Enrico and his bond with Kamala II than bells and whistles surrounding them.
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