PLANETFALL

Perhaps no other genres reflect the primal thematic concerns, characteristics, and imagery of one another with such cosmic resonance and intimate introspection as does horror, fantasy, and science fiction. While many films strive to strictly define which category their own story belongs to, using the language particular to one specific genre (and thereby allowing the lazy critic or viewer an easy manner with which to follow their story), smarter filmmakers combine the visual and archetypal conventions of various cinematic forms and achieve a richer picture as a result. Planetfall, directed by Gianni Mezzanotte, is a marriage of several exploitation traditions, merging hard-boiled noir and apocalyptic action set pieces with the romanticized vision of violence found in the Spaghetti Westerns of the 70s. The result is a flawed yet emotionally engaging dust-and-blood Epic of gorilla filmmaking that suspends disbelief even as it casts a sly grin at its dystopian agonies.

A plot rooted in the grim hysterics of the dystopian future and ever present desire for personal survival, Planetfall is a symbiosis of several plot structures, weaving an intimate drama of betrayal and survival amongst a well worn thematic landscape of failed politics, moral ambiguity, and existential behaviour. Thankfully its choice of which of these aforementioned elements to emphasize and the furious drive of its narration injects it with enough attitude to overcome its essentially imitative nature. The story finds its voice and identity by devoting itself to character. A struggle for survival and supremacy tests the strength of humans struggling to endure when a military transport crashes on a planet ruined by war. With physical danger exploding at each step, and internal conflicts ravaging characters from within, competing groups of special interests seek the last, lost stockpile of Psylenol, an illicit psychic-power enhancing drug. Two hardened female bounty hunters find themselves in the midst of all this havoc, and find both their physical endurance and emotional barriers tested . . . By the land . . . By the mission . . . By each other. A show down is coming, and it's going to be messy . . .

A proudly independent, admittedly low budget marvel of angst in a bleak future, the anti heroes painting the desert red with rage in this attack against conventionality are neither heroes nor villains in the proper sense of the word. Rather they share something of the internal restlessness and self serving necessity of the anti-heroes made so mysterious and appealing in the vigilante fests of the 70s and the aforementioned Spaghetti Westerns. Like these, the bounty hunters are motivated by profit and their own skins, with nary a thought toward good or evil in the accepted meaning of the terms. In this they are a further reflection of the animalism that challenges our collective conscience -- programmed from birth to see the world in set, definite terms. Refusing to be used as a pawn in the simplistic Good vs. Evil ethics that so many stories are forced to represent by government and church, Planetfall finds its own sense of ethics and morality -- one that is subversive and dangerous but also liberating in its honesty and approach. It is just this sense of desperation and honor among thieves -- this rough sense of justice and moral ambiguous, that helps the story succeed as not only a futuristic potboiler but a surprisingly intellectual examination at the lengths people will go when desperate enough.

Moral ambiguity is just as much a character here as the bounty hunters themselves, and certainly as crucial to our appreciation of the theme. Of equal importance are the towering, barren landscapes that dominate the story. These wide open, isolated places are wonderfully effective metaphors for the bleak isolation and alienation of our character's souls, lending primal depth to their motives without overpowering them. More importantly, these matters of morality are suggested as organic elements of the story -- natural outgrowths of the conflicts, so they don't come across as trite sermons. Thematic interests aside, Planetfall uses its minimal casting, financing, and effects to a distinct advantage. Necessity is the mother of invention, and the creative talent behind this darkly philosophical actioneer squeeze the cinematic potential out of ever frame of landscape, every weary expression across a surprisingly able cast of newcomers. Leitha Matz, Heidi Fellner, Chaz Truog and Snype Myers are believable in the way that only non-seasoned professionals can be, convincing us of their troubles with an unfeigned honesty. A special treat is in store for fans of so-bad-its good cinema with the appearance of genre fave Ted V. Mikels (The Corpse Grinders). While occasionally showing lapses of character logic and a fragmented narrative focus, this unpretentious yet emotionally intriguing orgy of genres is a welcome relief from Hollywood's current craze of remakes and sequels. For that alone, and its ability -- its willingness! -- to stay true to its own vision, it is a worthwhile effort.

Visually, Planetfall can't help but show the limitations of its budget -- yet it never tries to. Instead it uses its low budget and flaws to create a more convincing post apocalyptic world of waste and woe. This sense of hopelessness and dirt, drabness and filth is carried through in the transfer. While professionally done and free from any jarring moments of grain or splotching, the widescreen image retains the otherworldly gritty aura of its subject. If the picture isn't spot on perfect, I don't think it was intended to be. This gives the picture the feeling of a grind house or Drive In feel that perfectly fits its subject.

Extras are generous for such an independent film, weaving a social and aesthetic context that allows one to see into the many levels of Planetfalls creation. Focusing on the technical details of its planning and production, the most significant extra has to be the "Behind the Scenes Documentary" that, weighing in at around an hour, is entertaining if not anything new. Less engaging but certainly appreciated is the "Historic Pickwick Mill Travel," followed by a "Production Design" featurette. This is for both the more technical viewers and general film buff, covering the challenges of making the fantastic appear believable in a post apocalyptic world. "Deleted Scenes" are intriguing although one can see why they were wisely dumped on the cutting room floor. Most enjoyable is the interview with the eclectic Ted V. Mikels, whose persona is every bit as unique as his films. An effective presentation to a spirited post apocalyptic hoedown, Planetfall is sure to become a hit of the genre underground.

Review by William P. Simmons