2149 The Aftermath [2021]
IMDb Ratings: N/A
Genres: Sci-Fi
Language: English
Release Year: 2021
Director: Benjamin Duffield
Stars Cast: Daniel DiVenere, Patricia Economo, Enrique Garcia
Director: Benjamin Duffield
Stars Cast: Daniel DiVenere, Patricia Economo, Enrique Garcia
2149 The Aftermath Movie Screenshots
2149 The Aftermath Movie Review
There is not much in "2149: The Aftermath," another inclusion in the dreaded genre, which eats "YA-sci-fi" cinema. What is here is true, if it sounds careless. That just isn't enough to happen.
Edited editor and co-author Benjamin Duffield presents a new version of post-apocalyptic dystopia, with a limited perspective and yet wide, but myopic, slightly paranoid and creative.
The old man tells the story in his own words, about the days, nights, and years when he lived in a “holy convent,” in cubicle-sized houses where people like him sat in a single chair all day, eating, playing games, sending letters to his mother in a different setting and working. - The remote control uses the back-ups of the mines that produce the minerals needed to make the pods of the sanctuary work properly.
Darwin (Nick Krause) is nine years old, as the "greatest war" killed most of mankind and left the world uninhabited. Any interruptions and a different voice growl "Keep working, KEEP WORKING NOW." It's not like he can't do the work that keeps his air flowing with his next meal and the push-button supersuit (he can wash inside it and never take it off) at work.
But other distractions keep him busy. You see a dog. That is not enough to get him out of his seat. But the power outage that starts the voice calculation of his O2 respiratory supply does.
"The cleaning will be over in 15 minutes… Goodbye, Darwin."
Capitalism. You can't beat it. But you may find that they rode that old rope, "the world is not as poisonous as they used to say."
Darwin wakes up for the first time in years, wandering outside, and you wouldn't know, you find a "family" living in the woods, beyond the reach of a "police cruiser". Molly Parker “mother,” but young blonde Dara (Juliette Gosselin) takes a special interest in this “resident.”
Can new love flourish in the midst of darkness? Who or what might stand in the way?
Smart touch, because of the instructions to think of writing it on his computer, Darwin forgot how to speak. Other children in the family should copy the keyboard and translate his “speech”.
The "police travelers" look suspicious as various special bending tools, or droid soldiers from the "Star Wars" universe.
The threat is "common," "family" alive and entertaining in the fashion of "Little House on the Prairie", and love has no interest. The plot is very low, and the characters' emotions go hand in hand.
Krause (“White Rabbit,” “Generations”) made some sort of Edward Scissorhands appearance, which does not give us enough to connect with. Parker is honest, as usual. And the Canadian Gosselin (“Kiss Me Like a Lover”) has a moment or two. In fact, just one.
Credit Duffield for making this dystopia sound exploitative work that lives in it, is flooded and gone, and the "pod" is amazing.
Edited editor and co-author Benjamin Duffield presents a new version of post-apocalyptic dystopia, with a limited perspective and yet wide, but myopic, slightly paranoid and creative.
The old man tells the story in his own words, about the days, nights, and years when he lived in a “holy convent,” in cubicle-sized houses where people like him sat in a single chair all day, eating, playing games, sending letters to his mother in a different setting and working. - The remote control uses the back-ups of the mines that produce the minerals needed to make the pods of the sanctuary work properly.
Darwin (Nick Krause) is nine years old, as the "greatest war" killed most of mankind and left the world uninhabited. Any interruptions and a different voice growl "Keep working, KEEP WORKING NOW." It's not like he can't do the work that keeps his air flowing with his next meal and the push-button supersuit (he can wash inside it and never take it off) at work.
But other distractions keep him busy. You see a dog. That is not enough to get him out of his seat. But the power outage that starts the voice calculation of his O2 respiratory supply does.
"The cleaning will be over in 15 minutes… Goodbye, Darwin."
Capitalism. You can't beat it. But you may find that they rode that old rope, "the world is not as poisonous as they used to say."
Darwin wakes up for the first time in years, wandering outside, and you wouldn't know, you find a "family" living in the woods, beyond the reach of a "police cruiser". Molly Parker “mother,” but young blonde Dara (Juliette Gosselin) takes a special interest in this “resident.”
Can new love flourish in the midst of darkness? Who or what might stand in the way?
Smart touch, because of the instructions to think of writing it on his computer, Darwin forgot how to speak. Other children in the family should copy the keyboard and translate his “speech”.
The "police travelers" look suspicious as various special bending tools, or droid soldiers from the "Star Wars" universe.
The threat is "common," "family" alive and entertaining in the fashion of "Little House on the Prairie", and love has no interest. The plot is very low, and the characters' emotions go hand in hand.
Krause (“White Rabbit,” “Generations”) made some sort of Edward Scissorhands appearance, which does not give us enough to connect with. Parker is honest, as usual. And the Canadian Gosselin (“Kiss Me Like a Lover”) has a moment or two. In fact, just one.
Credit Duffield for making this dystopia sound exploitative work that lives in it, is flooded and gone, and the "pod" is amazing.
