Science Fiction Volume One: The Osiris Child

from Wikipedia, the free encyclopedia
Movie
German title The Osiris Child
Original title Science Fiction Volume One: The Osiris Child
Country of production Australia
original language English
Publishing year 2016
length 99 minutes
Age rating FSK 16
Rod
Director Shane Abbess
script Shane Abbess,
Brian Cachia
production Sidonie Abbene ,
Shane Abbess,
Matthew Graham,
Brett Thornquest
music Brian Cachia
camera Carl Robertson
cut Adrian Rostirolla
occupation

Science Fiction Volume One: The Osiris Child (also SFv1 ) is an Australian science fiction film directed by Shane Abbess . In Germany, the film was marketed directly on DVD from September 21, 2017 .

action

Indi, the girl the title is about, initially reports from the off . It is learned that her father, a highly decorated space pilot commander, was responsible for the death of his entire unit during a combat mission before which he was said to have taken excessive medication. Since then, despite a pardon, he has spoken of alcohol and has become a burden for the family. The eleven year old daughter Indi and her mother live on earth; he, Kane Sommerville, has accepted a job at the leading terraforming company EXOr. His job as head of infrastructure planning is in the space station above the clouds of a distant planet made habitable, whose raw materials are now being exploited with the help of convicts.

Indi is visiting her father and a friend in the capital Osiris, while her father has to do his job high above her, but spends his free time with her on the barren planetary surface outside the city with things like target practice. At the same time, a horde of monsters breaks out. These are actually prisoners on whom genetic modifications have been made to make them more robust for the bone-hard work on planets to be colonized in the future - in the course of interplanetary colonization . If necessary, they should also be able to eradicate native life forms. The research is part of the EXOr project, but top secret. The suddenly high number of these beings is the result of a punitive measure because of a previous revolt in the state maximum security prison. The inmates instigated them because every sentence gave no hope of release, the director is a sadist and fellow inmates keep disappearing. The cover-up plan of the EXOr project manager General Lynix provides for the destruction of all living beings, including the civilian population of the planet. The "outer cities" have already been bombed for the first time under the pretext of fighting a virus . Sommerville, who learned the truth from an initiated friend, deserted and hijacked a flotilla glider . He wants to save his daughter. After a dogfight with his pursuers and the shooting down of his space glider, the ejection seat throws him into a pool on the planet's surface. There he is pulled out by one of the prisoners named Sy Lombrok, who had escaped unchanged. Lombrok is suspicious, but joins Sommerville, who promises access to a protective bunker . The unequal couple must now find their way to the capital Osiris on foot in an inhospitable environment. EXOr search parties are on their heels and the creatures are getting closer too. In a smuggler outpost with an integrated bar, they meet the crazy step-siblings Gyp and Bill, who used to be drivers in the prison service. Four of them in a converted prison bus and equipped with expensive weapons from a tinkerer, it goes faster.

Crowds of monsters are already raging in the city, but Sommerville brings Indi out of the high-rise apartment. In confrontations with monsters and an EXOr patrol , Bill, Gyp and Sommerville are killed. A few seconds before the detonation of the atomic bomb, Indi and Lombrok, who had recently been infected by a monster's whip-like tongue, reach the bunker. Indi does not want to give up Sy, who is aware that he is about to lose his humanity. In a flashback, Sy Lombrok's tragic history of loss and revenge is told.

A year later, two EXOr people in radiation protection suits, who followed a beacon signal, approach the bunker. Indi and the transferred to the monster Sy overpower the two. They learn that the perpetrators of the mass extermination and contamination were named as escaped convicts who blew up the power stations. Indi forces her and Sys transport to the space station. With this cliffhanger the film ends, which makes the addition “Volume One” understandable.

production

The film was shot in the Australian town of Coober Pedy, among others

Directed by Shane Abbess , who wrote the script for the film together with Brian Cachia . Abbess breaks up the chronology of the narrative in his work and, according to Christoph Petersen from filmstarts.de , ensures subsequent revelations and surprising twists through the non-linear sequence of the individual chapters that would otherwise not have existed.

Daniel MacPherson took on the role of Lieutenant Kane Sommerville, Kellan Lutz played the escaped prisoner Sy Lombrok, and Rachel Griffiths took the role of General Lynex. Teagan Croft plays Sommerville's daughter Indi.

The film was shot in New South Wales, Australia , in the village of Coober Pedy and in Gladesville , a suburb of Sydney , and premiered on September 24, 2016 as part of the Fantastic Fests in Austin. In Germany, the film was shown for the first time in January 2017 as part of the Fantasy Filmfest White Nights . As part of the Seattle International Film Festival , the film was in the Contemporary World Cinema competition and was awarded in May 2017 in the Wild, Titillating, Fantastic! shown. The film was released on DVD and Blu-ray in Germany on September 21, 2017 .

reception

Reviews

So far, the film has won over 65 percent of Rotten Tomatoes ' critics . The average rating is 6 out of 10 points.

Marc Ciafardini of The Film Stage says, "It's an excellent piece of work with space effects and breaks in the chapters that push the pace of the narrative."

Christoph Petersen from filmstarts.de sees the main sources of the present "big, but not excessively expensive produced science fiction for a nerdy audience" in Star Wars , Mad Max and Fortress - The Fortress . Thus the film offers “nothing new”, but is nevertheless “groundbreaking” due to the budget -to-result ratio . The cutbacks in the special effects and equipment are not too big. The space glider launch and the rotating prisoner cells are the implementation highlights, but the monster design is worth discussing.

Leigh Monson, whose review can be read in the online edition of Substream Magazine, is also drawn to the prison cells . He calls the torture method, ie the cells, which are a torture device per se, “subtle”, and this is only one of many conceptual ideas that would captivate the audience. On the other hand, there are half-baked characters, flat dialogues and a boring story with little action, with a torn chronology that would not be understandable without the explanatory episode title overlays. Since the latter weighs more heavily than the optical delicacies , a second part cannot be justified.

“MarS” takes a contrary view on sofahelden.com : “With The Osiris Child , director Shane Abbess has once again created an excellent, visually convincing science fiction film with a low budget that absolutely does not need to hide from its great role models. On the contrary, because both the story and the character drawing are unusually complex and not only know how to entertain the audience, but sometimes also to surprise them. The Osiris Child has more than deserved the Insider Tip Award and is actually already a must for all fans of well thought-out sci-fi films with a horror touch . Can I have some more, please!"

Oliver Armknecht positively mentions the views of the futuristic city, the high-tech facilities and the desert landscape that spreads apocalyptic mood on film-rezensions.de . What he likes less is the lack of decision-making in the characters who start immediately, the threatening gestures that replace communication, and the variety of fight scenes. These are all characteristics of a B-movie and are therefore acceptable. He judges the monster design negatively. But most of all the lack of content and the weak character drawings. In addition, he considers “the erratic narrative [for] only moderately successful” and the resolution “awkward and kitschy”.

The reviewer on actionfreunde.de , who calls himself "Freeman" , was impressed by the striking location pictures thanks to the bright colors and dynamic camera work. On the other hand, he says about the plot : “The [story] is getting complicated and complicated. [...] The rest of the process takes place in completely unsurprising ways: Our heroes meet other companions who join the quest and remain completely unqualified. And everywhere you stop there are dead and some action. To make the whole thing a little more interesting, the story was broken down into chapters. They all have their own characteristic subtitle and are not necessarily arranged chronologically. This allows the film to jump in its narrative time and let in at least one small peculiarity in terms of narrative technology. The Osiris Child doesn't get any more exciting or even faster . ”So he finds the“ too much fun, entertaining, little science fiction film ”, at least in terms of technical design,“ quite likeable ”.

Maitland McDonagh says on filmjournal.com that too many locations and problems have been packed into the film, the action part of which is sparse . The more you try to understand the plot, the less sense you see in it.

Timo Wolter's conclusion on blu-ray-rezensions.net is: “ The Osiris Child is based on some role models and is certainly not reinventing the fantasy sci-fi wheel. The actors are committed to this, the setting is pretty dirty and the staging is consistently fast. ”The non-linear narrative builds tension and has“ sometimes surprising story turns ”ready.

Volker Schönenberger speaks of a “ road movie ” at dienachtderlebendentexte.wordpress.com . "Interesting characters" would appear in it and action scenes would alternate with calm sequences . Despite the low budget, the visualization is more than acceptable. If it continues, he hopes that this level will be maintained.

James Berardinelli hopes that there will be a sequel at all , because he finds the cliffhanger annoying. The material suggests a space opera, but doesn't work as a single film, he warns on reelviews.net . Osiris Child impresses with well- choreographed action and surprisingly good special effects for a film on a budget . The basically appropriate flow of action only comes to a standstill when the flashbacks begin. Experienced actors offer a solid performance.

For spideragent , author on the Darkangel website, there are currently no signs of a “space opera”. He comments: “[...] another film by director Abbess, which has not left me indifferent. Anyone who expects a space opera, of course, can and will most certainly be disappointed. SciFi, road movie, horror and drama elements intertwine here and even if I don't agree with all story developments, the end is more of a beginning, as the English title would suggest. If it doesn't go any further, then this finale is also satisfactory and leaves room for some thought. "

The Australian film portal filmink.com published a rather critical review in the person of Dov Kornits. The numerous action scenes and the effective trick technology, which should not fear comparison with Hollywood , were highlighted. But in terms of content, the whole thing is unspectacular and the end of the film inconsistent. The father-daughter relationship, which is at the core, is not as emotional as it could have been, mainly because the daughter is not present enough. The interlude with Gyp and Bill seems like a foreign body. The most disappointing are the monsters that were created with real make- up art, here you fall away from the otherwise used CGI method. Kornitz speculates that this happened because the expectations were high, but the budget was low.

The film critic of the web portal Film International (short: filmint.nu ), Elias Savada, gave a consistently negative assessment . In it he finds the title Science Fiction Volume One unoriginal, and also arrogant because it suggests a series that is not secured. He discovered tropes from Avatar - Departure for Pandora , the Alien films, the Star Wars saga , from the Fifth Element and the Mad Max series. When Monster design, it seems, had probably the Wild Things Are by Maurice Sendak been modeled. Those infected with the virus, he continues, turned into monster colossi at unbelievable speed and were then just as unbelievably fast on the road. Abbess has enriched foreign ideas and illogic with clichés, stereotypes and something repulsive. Because of the blast, as you know it from video games , he called the film "space wests". He also criticized the leaps in time that would take the momentum out of the story. He only found words of praise for the visual effects and the acting.

Germain Lussier, as he describes it on gizmodo.com , as well as Savada has the impression that Shane Abbess has mixed up a lot of well-known scifi tropes in a blender. However, his overall assessment goes in the opposite direction: The result is a very entertaining film. Scene after scene, creatures, effects, and actors made it feel like they belonged in a bigger movie.

Awards

Australian Academy of Cinema and Arts Awards 2017

  • Nomination for the Award for Best Hair and Makeup (Jen Lamphee, Anna Gray and Melissa Chew)

Australian Academy of Cinema and Television Arts Awards 2017

  • Nomination for best film

Web links

Individual evidence

  1. ↑ Release certificate for Science Fiction Volume One: The Osiris Child . Voluntary self-regulation of the film industry (PDF; test number: 169381 / V). Template: FSK / maintenance / type not set and Par. 1 longer than 4 characters
  2. ↑ a b Christoph Petersen: The Osiris Child. In: filmstarts.de. Webedia GmbH, accessed on August 24, 2018 .
  3. ↑ Craig Mathieson: The Osiris Child review: A curious ticking clock Australian thriller In: The Sydney Morning Herald, May 14, 2017.
  4. ^ Film programs and competitions: Contemporary World Cinema In: siff.net. Retrieved May 18, 2017.
  5. ^ The Osiris Child: Science Fiction Volume One. In: Rotten Tomatoes. Retrieved August 25, 2018.
  6. ↑ Marc Ciafardini: 'Science Fiction Volume One: The Osiris Child'. Fantastic Fest 2016 Review In: The Film Stage, September 26, 2016.
  7. ^ Leigh Monson: 'The Osiris Child' is admirably ambitious but neglects basic necessities. In: substreammagazine.com. Substream Magazine, September 21, 2017, accessed August 24, 2018 .
  8. ↑ MarS: The Osiris Child. In: sofahelden.com. Michael Ritter, September 22, 2017, accessed August 24, 2018 .
  9. ↑ Oliver Armknecht: The Osiris Child. In: film-rezensions.de. WakeUp Media GbR, September 26, 2017, accessed on August 24, 2018 .
  10. ↑ Freeman: The Osiris Child. In: actionfreunde.de. Pierre Pawlik, September 18, 2017, accessed August 24, 2018 .
  11. ↑ Maitland McDonagh: Film Review: The Osiris Child: Science Fiction Volume One. A father searches for his little girl on a blasted future planet in this wild mishmash of human and inhuman monsters. In: filmjournal.com. Film Journal International, October 6, 2017, accessed August 24, 2018 .
  12. ↑ Timo Wolters: The Osiris Child. Blu-ray review. In: blu-ray-rezensions.net. Retrieved August 24, 2018 .
  13. ↑ Volker Schönenberger: The Osiris Child - The planetary terraforming prison. Science Fiction Volume One: The Osiris Child. In: dienachtderlebendentexte.wordpress.com. November 5, 2017. Retrieved August 24, 2018 .
  14. ↑ James Berardinelli: Osiris Child, The (Australia), 2016. A movie review. In: reelviews.net. October 5, 2017, accessed on August 24, 2018 .
  15. ↑ spideragent: The Osiris Child - Science Fiction Volume One: The Osiris Child (film review ). In: darkagent.blogsit.net. Andreas Stadtler, October 13, 2017, accessed on August 24, 2018 .
  16. ↑ Dov Kornit: The Osiris Child: Science Fiction Volume One. In: filmink.com. 2017, accessed on August 24, 2018 .
  17. ↑ Elias Savada: The Saga Doesn't Begin - The Osiris Child: Science Fiction Volume One. In: filmint.nu. Daniel Lindvall, November 12, 2017, accessed August 24, 2018 .
  18. ↑ Germain Lussier: See Why 'The Osiris Child' Is an 'Endangered Species' in the World of Scifi Filmmaking. In: gizmodo.com. September 5, 2017, accessed August 24, 2018 .
  19. ↑ AACTA Awards: Winners & Nominees In: aacta.org. Retrieved October 31, 2017.
  20. ↑ Jackie Keast: AACTA Awards 2017: feature films in competition and doco nominees unveiled In: if.com.au, August 7, 2017.