Waking inside a laboratory on an airship, a man recalls bullies from his childhood. A scientist, Estelle, greets him and tells him his name is Henry, she is his wife, and that he has been revived from an accident that left him amnesiac and mute. After she replaces a missing arm and leg with cybernetic prostheses, mercenaries led by the psychokinetic Akan raid the ship, claiming all of Estelle's research is Akan's corporate property. He kills Estelle's scientists before attempting to murder Henry, but Henry and Estelle flee in an escape pod, landing in Moscow. Estelle is abducted by the mercenaries, who try to kill Henry..
Henry was played by 10 different stuntmen and cameramen including the director Ilya Naishuller. He was originally played by Russian stuntman/camera operator Sergey Valyaev but the camera rig used in production eventually caused him severe neck pain and the role was given to Andrei Dementiev - who also suffered neck pain as well in addition to losing a tooth after being struck by a stuntman. In the scenes where Danila Kozlovskiy and Sharlto Copley talked directly to Henry, Valyaev and Dementiev wore shades to prevent the actors or actresses from looking at them instead of the camera. See more »
At the 1:00 hour mark, When Henry escapes from being restrained in the chair by cutting the power, and throws the trash bin at the Jimmy clone, it clearly misses him, but he still goes down. See more »
Towards the end of the end credits, while they're still rolling, a beep from an answering machine comes on and it's Jimmy. The message says, "Hello, Henry. Well, if you're hearing this, there's one more thing I need you to do." See more »
Half human and half machine, Henry wakes only to witness the kidnapping of his wife Estelle, by a group of mercenaries. From this moment onward Henry searches and fights for Estelle with every ounce of energy he possesses. He kills and risks being killed himself, by every weapon imaginable. The viewer, through the use of a special camera attached to someone's head, is about as face to face with the violence as anyone can get. Each move that is made by Henry is followed by the viewer. Every throat that is cut seems as if it is done by our own hands. We figure out what is happening only in so much as Henry does, for both viewer and character are in the same shoes. The film is kinetic, bloody and non-stop action. While worn down by the shaky camera work and bad acting, I also appreciated all the zany twists, gore, rawness and laughs to the story. Ann of Green Gables and Little House on the Prairie the film is not, and this is usually a good thing. Seen at the Toronto International Film Festival 2015.
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