It’s the end of the world as we know it, and Emile’s fine…
Emile Hirsch stars as a young tech entrepreneur in Chris Gorak’s post-apocalyptic sci-fi drama set in Moscow, and produced by Wanted director Timur Bekmambetov. Hirsch and his business partner and lifelong friend Max Minghella arrive in Moscow to launch a Russian expansion of their social networking site Globe Trot. Only to find that they’ve been royally screwed by their dodgy business associate played by Alexander Skarsgaard lookalike Joel Kinnaman, who has the advantage over them of actually speaking Russian and has stolen their idea. Disconsolate they retreat to Zvezda nightclub where they meet two users of Globe Trot, Olivia Thirlby and Rachael Taylor. Kinnaman shows up for a celebration of his business deal, but a fight is halted by a sudden power-cut that heralds the descent of alien invaders. What resemble glowing jellyfish descend from the skies and then become invisible, before shredding any human who touches them with a blast of electromagnetic wave energy that reduces them to their molecular structure instantly.
The Darkest Hour recalls Cloverfield in its quick setting up of a small group of people before realistically killing them off in shocking and suspenseful ways as they grapple with an alien invasion they don’t really comprehend. The script by Jon Spaiht was originally conceived for small town Ohio by Leslie Bohem & MT Ahern but became a far different beast when the chance to explore Russia opened up. Unfortunately the script lacks Drew Goddard’s wit and so, unlike Cloverfield, you’re not fully on board with rooting for these characters before they’re thrown into peril. The peril though is very well handled. A sequence in a deserted Red Square is memorable both for its stunning location and its tension as our heroes try to escape detection by an enemy they cannot see. Gorak’s love of 28 Days Later is clear from the joy he finds in filming scenes in a Moscow whose 14 million citizens have been reduced to a thin dust on the eerily empty streets.
These Americans and Australian are totally lost in an urban environment where even the street signs are in an alphabet they can’t read. Gorak makes daytime a source of terror as only at night can the aliens be easily detected when they light up electric outlets. The science is explained by a nicely deranged Dato Bakhtadze as Sergei, riffing on Brendan Gleeson’s role in 28 Days Later. Indeed the stars are comprehensively outshone by their support. Veronika Vernadskaya as Vika has some wonderful moments as the resolute teenage survivor. Gohas Kutsnko as Matveo is magnificent as a Russian soldier who has figured out to how to defeat the aliens and plans a Leningrad style resistance; he would rather die with Moscow at his back than survive in exile. This recalls Colin Farrell’s character in The Way Back, but with Bekmambetov advising we can apparently now regard this as a real Russian trait.
The ending stresses the note of hope too much, when the world’s population could now probably live comfortably in North London, but this is a solid piece of work.