The year is TWENTY TWENTYFOUR. And this not so distant future is very dangerous. The world hangs in the balance.
Twelve large multinationals form an alliance. In secret they build twelve bunkers to house the fortunate remnant chosen to go underground and escape the destruction of the world.
But until we get to the apocalyptic end, twelve high quality, high intelligence, high functioning human beings, twelve individual scientists will have to live in their respective solitary confinements. Their job is to maintain the bunkers in a state of readiness, and when the end comes they will let in the chosen few in and find themselves cast out.
TWENTY TWENTYFOUR is the story of one such high performance man. He is a scientist, with a bent for ‘the truth’, who begins to question his own sanity. Is there someone in there with him, monitoring him to make sure above all that he will remain loyal to the programme. The movie begins to explore the nightmare of being alive underground, with every need met, apart from the basic human need for other human company.
The computer brain – Arthur – who controls the Plethura, that particular bunker’s total environment, is both friend and tormentor. And within a short time Arthur has alienated the already socially alienated Roy, the scientist.
TWENTY TWENTYFOUR isn’t quite sci-fi, isn’t quite horror, isn’t quite psychological thriller. A blend of all these genres? Perhaps.
I was expecting to be shocked, scared, given a vision of a frightening future by TWENTY TWENTYFOUR. But for me not a single moment of flight/fight adrenalin rush. Why? It was just plain predictable.
Make no mistake, director and author, Richard Mundy has achieved something remarkable on such a limited budget. He says it’s a movie which explores big themes. That’s true. The set is with its retro styling is very good. The acting – almost a solo performance by Andrew Kinsler – is excellent. I did like the cinematography by Nick Barker.
As one who’s had recurrent nightmares as a child the real horror of a situation comes quickly. Here, however, the horror never came. I wasn’t bored, but neither was I enthralled. Mayb,e much tighter script and visual editing would have tightened it up sufficiently. But somehow Arthur didn’t have quite the menace of Hal. Big themes, but they have been explored often, and this retelling is competent but not quite original, Three stars from me. But I’d much rather watch a Space Odyssey.