Following clues to the origin of mankind a team journey across the universe and find a structure on a distant planet containing a monolithic statue of a humanoid head and stone cylinders of alien blood but they soon find they are not alone.
Astronaut Sam Bell has a quintessentially personal encounter toward the end of his three-year stint on the Moon, where he, working alongside his computer, GERTY, sends back to Earth parcels of a resource that has helped diminish our planet's power problems.
Six months after the rage virus was inflicted on the population of Great Britain, the US Army helps to secure a small area of London for the survivors to repopulate and start again. But not everything goes to plan.
A father and his son walk alone through burned America. Nothing moves in the ravaged landscape save the ash on the wind and water. It is cold enough to crack stones, and, when the snow falls it is gray. The sky is dark. Their destination is the warmer south, although they don't know what, if anything, awaits them there. They have nothing: just a pistol to defend themselves against the lawless cannibalistic bands that stalk the road, the clothes they are wearing, a rusting shopping cart of scavenged food--and each other. Written by
For the birthing scene, director John Hillcoat originally planned to record the screaming of women actually giving birth and edit it over the scene. Charlize Theron objected to this and filmed the scene herself. The screaming you hear in the film is actually her. See more »
The "current" portion of the movie takes place approximately 7-8 years after the "disaster" happened that caused all plant life to die off. If all plant life had died off, there would be no dry grass shooting from the soil, nor dead grass lying on the ground especially with all the weather turmoil happening around. All leaves and dried grass would have decomposed in that amount of time. Furthermore, trees would not have dried leaves hanging from the branches. See more »
With a surplus of post-apocalyptic/disaster flicks present in today's film circle, the Road does what very few films in any genre seem capable of doing. Here is a picture that in it's own discreteness captures the realism of a holocaust horror, combining the absolute worst possible future with the most profoundly beautiful human characteristics that keep the main characters persevering. Not only does the story accurately exhibit the polar opposite aspects of a post apocalyptic existence, but the cinematography used during the flashbacks of a life full of color and hope many take for granted, is excellently positioned with the dark, dismal, and often terrifying reality that is the Road. The score was also fantastic and perfectly appropriate for the film.
The only two, minor issues I had were the sound editing, (MINOR!) and the ending which was NOT at all a disappointment, but I felt it was quite open, without giving anything away. This is, again, a minor issue, for the story in itself was a journey, and we see only a small portion of the great, tragic, and ultimately fulfilling struggle.
And, though I'm sure no more attention is necessary, the acting as a whole was phenomenal. Each film since LOTR Viggo has greatly improved and I'd like to think of this as the beginning of his finest hour. Very few performances touch me emotionally, and his was certainly one of them, in three scenes in particular which were, being discrete, (the parting flashback, the dinner, and the climax.) Well done, the Road, thank you Mr. Mortenson.
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