There is an almost inexplicable passion that audiences feel for a specific genre in the film industry: disaster movies. Usually revolving around natural disasters which bring the littleness of man into confrontation with the power and majesty of nature, or else which defeats the greed of people, the titles that challenge us for their tale are endless, too. dated they are. be. We have extinction events on a planetary level, like “2012” and “Armageddon”, or iconic dramas based on real events, like the famous “The Impossible”. Either way, empathy (or the lack of it) when humanity deals with something unexpected or uncontrollable is a type of story that has an indescribable capacity for involvement.
At the end of the day, most of them fail to deliver anything beyond the obvious or the expected, which is worth more for special effects and scenes of world annihilation than for the messages they intend to deliver. But that’s not the case with “ Final Destruction: The Last Refuge ”: the feature manages to amalgamate the universal questions of the constant fear of what lurks in the darkness of space (in this case , an asteroid called Clarke that changes its course of collision (and threatens to erase everything we know) with a dramatic family tour de force guided by the exemplary chemistry of Gerard Butler – which is odd, since he turned is dropped last year to the forgettable formulas “ Geostorm: Planet in Fury ” – and Morena Baccarin.
The film had been postponed several times since its announcement, due to the growing COVID-19 pandemic that has repeatedly deconstructed the major studio premiere schedule – and despite these constant changes, it hasn’t aged like we do. imagined it. Rather, this disaster work has come at a perfect time to forget about the issues we face today, serving as a delicious and not at all guilty escape that holds us back from start to finish. The main plot revolves around a struggling family struggling for survival when the aforementioned comet threatens to reach Earth. Directed by Ric Roman Waugh, who had previously worked with Butler on “Invasion to the Secret Service”, the result is surprising and positive and even makes you cry as the evocative and hopeful finale approaches.
While Butler tends to be the main star of works in this genre, he shares the spotlight here with his fellow performers. The actor plays John Garrity, a renowned architect who is contacted by the United States Defense Service to go to a bunker in Greenland and save himself from a precise extermination. Despite problems with his marriage, National Forces ask him alongside his wife, Allison (Baccarin) and son, Nathan (Roger Dale Floyd), to leave the life he has known. Of course, things don’t go as planned, and when they reach the military base, they are prevented from getting on planes due to their son’s chronic illness.
(LR) Morena Baccarin, Roger Dale Floyd and Gerard Butler play GREENLAND
Image courtesy of STXfilms
The above paragraph sums up the story well and what we can expect from the following events – which are, in fact, predictable. The family split up, face their own demons, reunite, and make it to the last moments of the secret shelter to possibly save themselves from the meteor’s collision. However, it is the brilliant storyline signed by Chris Sparling that turns this adventure into a succinct analysis of how people become monsters in desperate situations, taking desperate and inconsequential measures to stay alive as long as possible. It’s not for nothing that we have forays that touch on anthropology and sociology, like John’s confrontation with xenophobic tormentors who think they do not deserve to be called, or because of the tragic achievement and Allison’s epic when her son is kidnapped.
It all culminates in a touching production that makes the most of its cast and creative team – especially as Sparling was responsible for the claustrophobic thriller “ Buried Alive, ” starring Ryan Reynolds. The screenwriter proves, as he has done before, that he has an honorable ability to use clichés to his advantage, without wanting to aim for something he never succeeds. It is obvious that the work itself is not intended to be revolutionary, but rather to entertain, however unfortunate, people short of time to save those they love. After all, it is this affection for the other that gives us a spark of hope in a world rife with unbridled individualism and greed.
Waugh does a good job when it comes to the aesthetics of the film, sometimes bringing leanings to the mock documentary, sometimes letting the actors speak louder in methodical field-to-field constructions. The scenographic brochure of the incredible idyllic landscapes is also used for a well-defined purpose: to clash with the chaos caused by the wreckage of the meteor and the people who do not know what to do and how to protect themselves. For a moment, it’s unclear exactly if anyone survived – but the final two scenes in production, despite the obvious, are aimed at rebuilding a race that, once again, found itself with its days numbered.
“Final Destruction: The Last Refuge” is a great choice to see those confined weekends. Your journey is worth it for the protagonist’s cast bonds, endless tension, and fun action sequences.
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