Far from a rescue mission the scientists are flying west in order to harvest the girls´ blood in hopes of finding an antidote to the cannibal comet flu. A group of ethically challenged scientists who are barricaded in a mountain in the Mojave have picked up Sam’s searching radio transmissions and decided to a take a helicopter trip into L.A. Guns, shopping, and broadcasting are all on the menu in a Southland bereft of people and rules, but unsurprisingly the trio’s fun is about to be cut short. The trip is not wasted however as they make a new, well armed friend named Hector and start about the business of adapting to their changed realities. Regina and Sam make their way to a local radio station that is still broadcasting but find that everything emanating from within was taped before the comet arrived. To turn catastrophe into full blown survival crisis some of those who have lived through the streak have been infected and transformed into zombie comet cannibals. When they emerge from their respective steel drums the sisters find that everyone who wasn’t enclosed in metal as the comet passed has been reduced to piles of red ash. Her younger sister Sam is spending the fateful evening holed up in a storage shed after a nasty fight with her step mother. The older Regina is staying over in a projection box at the theater where she works so she and her boyfriend can explore their interlocking parts. Two people not in the celestial celebration mode are teen sisters Regina and Samantha. The good people of Los Angeles are flocking to the streets in festive garb hoping to catch a glimpse of the celestial visitor while ignoring the portentous reports that the comet has already knocked out communications in every part of the world it has passed over. The story opens with the world eagerly anticipating the arrival of a once in a generation comet. 1984´s ¨Night of the Comet¨ takes a bit of a different tack with its idea of kids as the inheritors and architects of the future. ¨Children of Men¨, ¨The Road Warrior¨, ¨Mad Max Beyond Thunderdome¨, and ¨The Road¨ are dramatic examples of storylines that pin the hope for escaping dystopian futures to the ameliorating effects of the young on the world. Children are hope, and perhaps no other film subgenre is more reliant on them for narrative gravity and promise (or the loss of those qualities) than the post apocalyptic film set. Generally speaking that moral quandary comes in the form of a child in peril. mortality scenario away from redemption and rebirth. Ravaged landscapes hide violent mobs of roving scavengers, small tribes headed by a corrupt figurehead and of course the principled renegade who has been driven by privation but is only one morality vs. These fears and anxieties are generally reflected through tales of normal folk navigating the ruins of a civilization laid to waste by cataclysm. Like many horror films post-apocalyptic films express the anxieties that the filmmakers harbor about facing the primal impulses of man unbound by systematized constraints.
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