Perhaps due to the rush, in a clear desire to exploit the current situation, ‘Immune’, announced as “The first film about the pandemic”, It has a script that leaks everywhere. He does not start badly in his description of a near, and possible dystopia, where the world has been ravaged by a virus that goes by the name of COVID23. However, the development of events is a disaster, with little interest beyond the curiosity that can be assumed to contemplate a film that expresses a tragedy that touches us these days, taking it to the extreme, or the presence in the cast of a Demi Moore almost unknown because of the aesthetic touches.
From the outset, it is not really the first look at the viral issue, ‘Contagion’ was visionary a decade in advance and there are many proposals filmed taking advantage of the confinement, the recent and chilling ‘Host’ without going any further. Described as “a Romeo and Juliet in a pandemic”, to nurture nonsense, the love story is the weakest thing in a game of crossed lives that does not work due to some clumsiness in the narrative, rickety, and characters as flat as a mobile screen. Cell phones are precisely omnipresent in a future world, the year 2024 is running, where isolation in homes is inevitable, martial law prevails and mortality from the contagious disease is 50%.
In this terrifying scenario, a messenger immune to the viral mutation rides a bicycle through the streets of the city, carrying packages of all kinds to the population locked up in their homes. He is in love with a regular client, whom he has never been able to touch, with whom he maintains daily contact. The conflict erupts when the delivery man has to save his beloved from the clutches of a government that expels the victims of the coronavirus, sending them to a limited area where chaos reigns. Very apocalyptic.
‘Immune’, made fast and running, or so it seems, has the half-hearted realization of Adam Mason, a common name in horror films with few notable titles in his extensive filmography, perhaps the three installments of the HBO series’ Into the Dark ‘. Michael Bay is behind the production, he sports decent visuals. Of course, there are drone shots and a montage, at times nervous, that doesn’t help the narration.
Slumber inevitably intoxicates the viewer. The use of the elements on the table is non-existent. It does not matter if the protagonist is a messenger, now that they are the subject of controversy for their despicable working conditions, and government control is a mere anecdote. Leftover characters come in and out and act on infused science, with simplistic motivations. It doesn’t matter what happens to them either, even the villain is from an operetta and his behavior is random. Unbelievable as a thriller, the romance is sultry and the absence of an irritating atmosphere. They accompany Moore in the cast of this proposal which can also inevitably be accused of opportunist Bradley Whitford (‘Let me out’), Craig Robinson (‘The Adventures of Doctor Dolittle’), Jenna Ortega (‘Iron Man 3’ ), Paul Walter Hauser (‘Richard Jewell’) and Alexandra Daddario (‘Baywatch’).
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