Weekly Review -- The end is nigh

Carriers (2009) -- When it comes to the horror genre, rarely do we manage to find a horror/drama hybrid to begin with, let alone one that does not employ the pretense and gloss of a big-budget confection. For an underrated gem that swerves 360° from your usual Hollywood fare, look no further than this Àlex and David Pastor film.

Brian (Chris Pine), his brother Danny (Lou Taylor Pucci), Brian's girlfriend Bobby (Piper Perabo) and Danny's friend Kate (Emily VanCamp) are fleeing a viral epidemic that has decimated the planet. On their way to the seaside, they happen upon a man (Christopher Meloni) and his sick daughter (Kiernan Shipka), setting in motion some very unwelcome events. More than anything, the encounter proves to be revelatory of the quartet's sense of morale and virtue, in a world that allows decency to dissipate without a trace...

The strength of Carriers lies in its deceptively simple story, one that sheds its layers as the proceedings unfold. Marketed as a straight-up genre film, this is a truly slick character study, its emotional impact augmented by the sibling relationship at its core. It is easy to make a film that capitalizes on the interplay between cheap thrills and gore, but it is quite difficult to create a work that invests in and finds meaning within its narrative. Carriers evolves from a tale of a makeshift family to a testament of its disintegration in the midst of catastrophe, leaving us to wonder what comes after the primary building block of humanity has evaporated and after the last vestige of civilization has been abandoned.

The acting, writing and cinematography are three of the film's strongest suits. Pine is impressive as Brian, a cynical realist whose stifled compassion is in conflict with the savagery around him. Pucci does an excellent job as the rather naive Danny, an idealist coasting on a vision of what might or might not be utopia. Perabo is simultaneously tenacious and melancholy as Bobby, while VanCamp gives a complex performance as Kate, a survivalist wolf in sheep's clothing. The chemistry among the cast is palpable, rendering rich and believable personalities and relationships and making the film that much more harrowing. The Pastors' screenplay explores these nuances, relying partly on the characters' inner plight and partly on the gravity of the inescapable situation. Benoît Debie's cinematography contributes to the somber mood of the piece, its vivid colors and crisp glow further illustrating a time and space outside any and all comfort zones. One of the most important facets of the film is the symbiosis between its aspects, with the technical elements feeding off the narrative and vice versa, its parts forming an eloquent sum that draws upon the themes of connection and isolation in an increasingly desolate world.

Carriers is an atypical mainstream thriller, coming from a place of bare truth, rather than a place of congested hyperbole. The film's style and commitment to its story is what gives it substance and relevance, making it stand out among numerous blood-soaked shockers. This time, the shock is real, because this time anyone can fall victim to its pull and anyone can find themselves facing the toughest choice of their life when they least expect it.

8/10