For René Fustercluck life was bad, the Apocalypse was awful, and then Gordon arrived - 'After the End' explores the possibility that the only thing worse than being the last man on earth, is being the second to last man on earth.
A weathered Sheriff returns to the remains of an accident he has spent a lifetime trying to forget. With each step forward, the memories come flooding back. Faced with his mistake once again, he must find the strength to carry on.
The deterioration of one is the foundation of another one's life. The world with it`s never-ending interplay of eating and being eaten, takes on new dimensions when the unexpected forces of... See full summary »
Set in the year 2071, where technology has brought mankind to the brink of colonization on a planet named Gaia, one man takes on an isolated mission and discovers unearthly horrors that could bring an end to life on this planet.
An aging drifter hunts fallen angels in a desolate city. Society may have turned its back on him, but that doesn't stop him from moving forward in his endless search for fallen angels. Written by
Striking Short Produces Potential Franchise Character
With their gritty take on a vagabond warrior confronting supernatural forces on the moonlit rooftops and filthy alleyways of the city, relative newcomer Nikhil Bhagat and "Sinister" scribe C. Robert Cargill have come together (along with John Henry "How-the-hell-isn't-this-guy-in-everything?" Whitaker) to bring to life a character and universe begging for a feature adaptation. With the film's combination of "The Book of Eli", "Dark City" and "Léon: The Professional", it's easy to see how such a project could have tremendous potential.
It's a compelling portrait of the glamourless life of God's assassin that uses religious imagery without an overt political agenda. The film tells the tale of a weary soldier nobly resigned to his fate, getting by on what he can find in the trash and carrying out his assignments with a rifle that, much like him, is held together by rags. Though things move quickly, Bhagat lets his scenes breathe. He allows the audience to absorb the film's dingy atmosphere and Whitaker's imposing yet sympathetic presence.
One particularly effective moment features an unbroken take that traps the viewer in the alley as Whitaker's Walker comes to collect his trophy. Though the camera stays firmly planted at a distance, it keeps the audience as a captive throughout the whole process. Bhagat's choice to use minimal audio enhancement instead of a score for the entire ordeal only adds to the impact of the moment. Whitaker's cold efficiency suggests that the brutality we've witnessed is common and familiar to our hero, though the act's questionable necessity makes you wonder how much of this is duty and how and much is revenge.
Though just six and a half minutes, the film raises a lot of questions about the complicated motivations of our gruff-but-engaging protagonist and many concerns about the consequences of his actions. With Cargill's recent successes providing potential opportunity, let's hope he has the desire to go back and give this story the time it deserves. With any luck, this is just an introduction.
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