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The stacked supporting cast also includes Craig Robinson, Alexandra Daddario, Paul Walter Hauser and a pitch-perfect Peter Stormare chewing up as much scenery as he can as the despicable head of Waste Management. After Sara’s grandmother catches COVID and Waste Management comes calling, it’s only a matter of hours before she’s shuttled off to the lockdown zone, and Nico is going to do whatever it takes to make sure that does not happen.
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The pair have been interacting via social media and face-messaging software for who knows how long, and it’s safe to say that even though they’ve never touched or been in the same room that they’ve still fallen in love. The thriller elements involve Sara ( Sofia Carson), a gorgeous twenty-something Nico inadvertently made the acquaintance of during a delivery.
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He spends his days speeding from one stop to the next, most of his deliveries going to the remaining wealthy elite, a high-profile clientele that includes a former music industry executive ( Bradley Whitford), his beautiful wife ( Demi Moore) and their 12-year-old daughter ( Lia McHugh).
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Individuals who have been classified as immune are considered essential workers and are free to roam around the quiet and deserted city. If an infection is detected, no matter how serious or life-threatening, the individual along with all residing within their domicile is immediately apprehended by Waste Management and taken to a lockdown zone where they will remain. Los Angeles is on permanent lockdown with mandatory virus scans every morning utilizing a citizen’s smartphone. The COVID virus was not contained and has mutated multiple times. What else is there to say?įor those who are curious (for the right reasons, not morbidly so), the plot is basic dystopian nightmare fuel. As professionally made and acted as it is, the idea that anyone thought this was a good idea to make right now, in this climate, boggles the mind. But right now? In this moment? Mason’s latest is as uncomfortable to sit through as I’m almost certain anyone with a pulse can imagine it would be. Heck, had this come out in three or four years, it’s possible I’d give the film a polite, somewhat appreciative pass and move on to whatever might be released next. It is a COVID dystopian thriller, shot, edited and released right when we are all still living through all of this, so watching it feels wrong in ways I admittedly cannot quite put words to. Maybe it’s hypocritical, but while some variation of all of that (and more) is going to transpire not too far in the foreseeable future, it still sends icky chills up my spine that producer Michael Bay and director Adam Mason ( Hangman) joined forces to make this film.
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