If the world ends in 2012, audiences may already know what we’re in for. For the last century, filmmakers have explored countless apocalyptic scenarios on screen, with everything from natural disasters (2012) to planetary collisions (Melancholia), and technological advancement (Terminator 3: Rise of the Machines) to nuclear warfare (The Sum of All Fears) seen as catalysts for the destruction of humanity. Supernatural forces have also attracted attention, including vampires (30 Days of Night), zombies (Dawn of the Dead), ghouls (Ghostbusters II) and giant lizards (Godzilla). Amongst the otherworldly entities, aliens remain the most common culprit, as evidenced in classics The Day the Earth Stood Still and Invasion of the Body Snatchers, more recent fare Mars Attacks! and Battle: Los Angeles, and now The Darkest Hour.
In Moscow to spruik their social networking platform, Ben (Max Minghella, The Ides of March) and Sean (Emile Hirsch, Taking Woodstock) are prepared for bigger and better things. Alas, their deal goes astray after sly Swede Skyler (Joel Kinnaman, The Girl with the Dragon Tattoo) sells the software as his own, leaving the Americans to commiserate with tourists Natalie (Olivia Thirlby, No Strings Attached) and Anne (Rachael Taylor, Red Dog). Betrayal in their business affairs soon proves the least of their worries, courtesy of an aggressive invasion by energy-seeking, invisible aliens. Instead, the quartet is forced to fight for their lives – in a foreign city, and against an unseen assailant.
As another unnecessary extra-terrestrial end of the world effort, The Darkest Hour is immediately familiar. Viewers aware of the plethora of previous space invader and Armageddon offerings will be instantly cognisant of the flimsy plot predicated upon perpetuating the protagonists’ survival, which owes a significant debt to Danny Boyle’s undead feature 28 Days Later. Indeed, it is surprising to find that three scribes are responsible for the slight story, with Leslie Bohem (Dante’s Peak) and M.T. Ahern’s creation further developed by screenwriter Jon Spaihts (the upcoming Prometheus). Their input is barely discernible from the pastiche of others in the genre, apart from the Russian setting and imperceptible foes as points of difference.
Sadly, two tweaks to the formula aren’t enough to invest interest or intrigue into proceedings, with helmer Chris Gorak‘s (Right at Your Door) sophomore outing an obvious, illogical and unimaginative affair. Whilst his background as an art director is evident in the effective aesthetics, the remainder of the feature is a paint-by-numbers effort, complete with average special effects and uninspired execution. Relegated to playing bland stereotypes and speaking in apparently pithy quips, the cast can do little to improve upon an awful situation. Accordingly, The Darkest Hour is far from illuminating entertainment, with the onset of the apocalypse preferable to the foreshadowed sequel.
The Darkest Hour was released in Australia on January 19th.
Director: Chris Gorak
Cast: Emile Hirsch, Olivia Thirlby, Max Minghella, Rachael Taylor
