From Room 1408 to Rites or a few episodes of Bloodline, Mikael Håfström has proven himself to be a capable technician. This is what earned him Hostile Zone, a new SF-colored action prototype purchased by Netflix, which was recommended to save his brain.
And that’s good, because it’s going to be a question of artificial intelligence. A concept that is not really new, which should be juxtaposed with young lieutenant Thomas Harp (Damson Idris). After disobeying direct orders and killing two American soldiers, with the empathy of an industrial grinder for a hen, our hero is given the tutelage of Leo (Anthony Mackie). This synthetic supersoldier is the first model of its kind to be deployed in full autonomy in the theater of operations.
We will therefore appreciate the spectacular folly of this concept, which aims to entrust an incompetent assassin with the management of high-tech weapons. A weapon that no one seems to care about is capable of swinging half the human species in less time than it would take Patrick Sébastien to turn things around. Obviously, nothing goes according to plan, and with many broken jaws and furrowed brows, all these beauties discover that killer robots are not very effective messengers of peace.
This violent attack on the nervous capacity of the audience is combined with the poor artistic direction of contemporary, in an attempt to recycle the legacy of Call of Duty and the video game ambassador of Battle Royale. So there you have it, from anonymous suburbs to disused factories, to the generic four corners of Eastern Europe, where everything seems to have been thought of to let the camera freely observe the actors doing chain bots.
As it stands, the film is more like a murder-cam com pe titio Not online as an action story utilizing real visual grammar, engineer-enhanced designs transplanted into Boston Dynamics.
However, Zone Hostile achieves feats that are never completely displeasing. Credit goes to speed, which has never had any twists and turns, but doesn’t take itself too seriously. Yes, those angry soldiers, these humanitarians are poised to crush the West for peace, and these cardboard rebels are artificial, but at least they waltz around nimbly, hardly ever leaving time for boredom to creep into this nice nag, enough visually flat, but still legible.
Similarly, we would appreciate investment casting Anthony Mackie in the lead. The latter has obviously recovered a good half dozen facial expressions since the second season of Altered Carbon, and put it to good use (which was rather convincing before Falcon and Winter Soldier). The mix of jokes, big talk, and pseudo-scientific bullshit is entertaining, and the physical investment is fun. Add to the pic ed for Emily Beecham which is too rare for good measure, and avoid narrowly passing through the bucket after you’re done watching.