By Erbe W.
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I’m not sure I can. It’s clear enough in the film who is who, but I suspect even the characters lose track of the actual origins of their vendetta. What happens is that hatred continues to claim lives in a sort of domino effect. The film doesn’t reduce itself to a series of Mafiastyle killings, in which death is a way of doing business. There are situations in which characters kill as a means of self-defense. And the filmmakers, Scandar Copti and Yaron Shani, by and large show characters on all sides who essentially would like simply to be left alone to get on with their lives.
But why? Is there a demand for cheesy 1950s sci-fi movies not met by the existing supply? Will younger audiences consider it to be merely inept, and not inept with an artistic intention? Here is a movie more suited to Comic-Con or the World Science Fiction Convention than to your neighborhood multiplex. If you must see a science fiction movie about a threat from beyond Earth, there’s one right now that I think is great: Knowing. , most of the nation’s critics mistakenly believe it qualifies. How can you lose?
He is referring to the dead. They are whiners. They’re not ready to die, they’ve got unfinished business, there are things they still desire, the death certificate is mistaken, and on and on and on. Deacon, as a mortician, has to put up with this. Take Anna as an example. She drove away from a disastrous dinner with her boyfriend, was speeding on a rainy night, and was killed in a crash. Now here she is on a porcelain slab in his prep room, telling him there’s been some mistake. Deacon tries to reason with her.