Age Of Ice

Age Of Ice

The trailer certainly does not tell the whole story. It was the age of the catastrophe movie genre infecting mass consciousness in the seventies, without a doubt. However, ever since the mid-aughts and well into the next decade and the 2020s, it has been meandering to become a subculture mostly associated with the Sci-fi Channel and other off brands. In this period, there have been a great many cheap and usually formulaic efforts churned out. (For a list of those more elaborate see my essay Disaster Movies).

The Age of Ice can be best described as a film that has characteristics that are typical of most disaster movies The Asylum put out in the 2010s. The scenario prepared by Emile Edwin Smith is rough and doesn’t warrant serious meteorological analysis. I could not seemingly follow the argument as to what volcano gases had to do with the sudden appearance of icebergs in the area.

Or how it is even possible in the course of just one day to go from moderate weather to so much snow that it completely hides the pyramids, which have a height of around four hundred eighty one feet. But then The Asylum’s disaster movies are never exactly world accredited with science.

Written by: Haris Muminovič Age of Ice does appear to fit into the mold established by many Asylum disaster films. In the middle of a widespread disaster, a coherent American nuclear family tries to make it through the struggle, while assisted by a bunch of other people they casually meet during the blockade. There are elements of mini-drama which seem to have been included into the overall scheme of the big action, not for its relevance to the main plot, but for drama’s sake, and even such a drama as the need to use the tow bar of the SUV to abseil over a cliff is definitely excessive.

With the film being directed by one of The Asylum’s regular visual effects people, it is obvious one would expect the effects in the movie to be better than usual but that is not quite the case.

There are some visuals that senior practitioners should at least try to justify the opening with a fleet of fighter planes wrecking an aircraft carrier, a cargo plane falling into the sea ice against the backdrop of much less elegant set-pieces. Also rather comical is the characteristic cost-cutting of Asylum where none of the film was shot in Egypt there are a couple of sequence unit extras showing the streets of Cairo but those involving the actors have all been done on a set and blue screen intrusions over shots of The Pyramids or such like.

Emile Edwin Smith is one of those who has been working in visual effects since the 1990s and a visual effects supervisor on an array of other films for The Asylum. Smith has directed a number of other films for The Asylum such as Mega Shark vs Mecha Shark (2014), Flight World War II (2015) and Ice Sharks (2016).

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