Drama films

Dating Review – Riz Ahmed Shines in Sophisticated Alien Invasion Thriller | Drama films


ohOtherworldly sci-fi meets down-to-earth psychological realism in director and co-writer Michael Pearce’s awe-inspiring sequel to the Brilliant of 2017 The beast. Boasting another remarkable performance by Riz Ahmed, whose nuances are superbly amplified by Jed Kurzel’s slowly changing score, this is a genre affair, balanced between tangible personal experience and growing paranoia, a touching mix of inner and outer worlds in which family tensions and extraterrestrial specters collide.

Like Nic Roeg’s The man who fell to earth, to whom this one has a tonal debt, Meet opens with images of objects plunging into the atmosphere towards the surface of our planet. From there we move on to Blue velvet-insect-style close-ups, vividly depicting alien microbes entering the ecosystem. Then we are in Apocalypse now territory, as Ahmed’s Malik Khan wakes up in his hotel room. “This violence is endemic,” proclaims television coverage of a scourge of riots. “It’s like a disease that infects a growing region. “

A decorated navy, Malik is now in a covert ops battle against microscopic space invaders – and that clearly puts her skin in the skin. He hears bugs in the wall and obsessively covers himself with bug spray. One night, he sneaks into his ex-wife’s house and reunites his young sons, Jay and Bobby, telling them they’re going on a surprise trip. “Why do you have pictures of monsters?” A child asks after rummaging through his luggage. “They are not monsters,” Malik replies. “They are non-terrestrial microorganisms,” invaders that live inside their hosts, controlling their actions. Apparently, the boys’ mother has already succumbed to these space spores, as has a cop who points out Malik in the middle of the night and in whose eyes he sees telltale signs of infection.

There’s a strong strain of William Friedkin’s criminally underrated cooler 2006 Bug (from the play by Tracy Letts) in Pearce’s evocation of a scathing threat that leads our protagonist to distraction. From the increasingly frenetic tempo of the bug-zapper on his sons’ porch to a close-up of their mother in the throes of a mosquito (“I’m getting eaten alive today”) and then mysteriously sick, it’s the little ones details that bite.

As in any family road trip film, there is also humor. “It’s official – you are both infected, ”Malik jokes when his sons tell him to turn off the heavy metal sounds of his car stereo, preferring the sounds of K-pop and Barbra Streisand. Meanwhile, in a side story, Octavia Spencer keeps things going as Parole Officer Hattie Hayes, a proud “benefit of the doubt” type who finds herself locked in a nightmarish world of “family wreckers.” And suspected kidnappings when appropriate government officials call.

First of all, Meet seems to follow in the footsteps of these M Night Shyamalan thrillers like Panels Where The event – films in which an apocalypse begins quietly, before turning into a global cataclysm. But Pearce and Giri / Haji creator Joe Barton (who wrote the original speculative script) is more interested in inner narratives, subtly linking Malik’s current struggles to the PTSD-inducing scars of ancient battles. After trying to protect his children from their most appalling goal by selling this “rescue mission” as a game, Malik discovers that fairy tales come true. “You are no longer a child,” he said to Jay, “you can not be ”, suggesting that dire circumstances have already deprived her son of his childhood. Or maybe it’s a growing awareness of their father’s fallibility that is the children’s real wake-up call.

The fellowship of the Three Musketeers is summoned when the trio declare that “families take care of one another”, even as the cracks in Daddy’s warrior armor are laid bare. The incredibly captivating and naturalistic performances of young actors Lucian-River Chauhan and Aditya Geddada add an emotional weight, making it a family affair. During this time, The beast cinematographer Benjamin Kračun, whom Pearce directed to Invasion of the Body Thieves and Paris, Texas as points of reference, carefully delineates the film’s changing perspectives, sliding between subjective and objective points of view, emphasizing the alien elements of the story without ever losing sight of its fundamental humanity.