Containment (Infected)
When Mark (wow, that’s cutting it a little too close!) is a deadbeat parent and unsuccessful artist, and he has a rough morning, waking up in his dirty council flat in London , he anticipates the worst case scenario of losing a custody dispute over the child. Although this sounds awful, Mark’s rotten day takes to new lows once he finds out that there are a few tenants in his estate, one of them being himself, who have all been locked inside their apartments with thick walls and have either been exposed to a lethal virus or have the possibility of having been exposed to the virus.
Fortunately, the partitioning of habitation units is of a minimal nature (as evidenced by Mark’s irritable old neighbor, who calls him a pathetic loser from her own home) so that our miserable protagonist looking so depressed is rapidly assisted by two brothers who specialize in plastering the entire wall. Such an expansion of the group occurs, as there is no escape at all and these gas mask wearing people outside do not look convincing.
Therefore, the viewers appear to be reaching out because of quiet over crowding. There is also something in their body language which suggests they are not completely sure if they want to show aggression towards the masked menace and danger posed by rage infected-monsters enslaved inside by abusive mechanisms or hoarded together in random garages.
Infected has a respectable enough setup which holds the potential of a low cost B–movie horror thriller (few locations, limited cast), however doesn’t seem to engage with this concept other than copy horror movies which did the same thing and placed strangers in a strange place and time to force them alliances or break from the abuse.
There’s supposed to be an intense feeling of confinement, encapsulated in the illusion of being fastened in place and cramming through dark corridors magnetized by the infected, but primarily the cinematography is too wide in scale and the angles of the nurse, constantly turning cameras in order to shield annoying patients from view, dissuade cinematographic movement with sensations.
Tower Block is quiet an interesting genre I would have no regrets watching innumerable times. Shivers was the boundary base line for all other films with similar theme and Attack the Block somehow surpassed that line. These stories have cockeyed characters but in an agreeable fashion; the psychics may be a few, but you can count them. Infected would benefit from taking note of Cronenberg and Cornish; everything gets more exciting in films the stranger the issue is.
Well, where are the erotic parasites or alien pitbulls? None, we are in Glum Realism. The only true sundry that the protagonists of the movie face are the people infected people and the healthy ones. But the tensions between them are so apparent and the ethics are so evident and pronounced with regards to the protagonists that the audiences can hardly draw their own conclusions. Mark goes through no end of exasperating decisions all of which are perfectly sensible and these being the last remnant of his growing severing gang is looking for a way out of their own house which is more like a prison.
At some point during the course of this film, I believe the audience understands what I am talking about, that the events they have witnessed are not just one spontaneous outburst: already at this point they have expanded their perimeter quite a lot, so I don’t think these people will be there for long. The apocalypse is taking place certainly, and nobody is paying any attention to it, not even the viewers.
However, the apocalypse signifies the downfall of civilization for the rest of us. Infected has a lot of social critiques, which is a must for every contemporary British film which features working class dialects: they too would have, and need to isolate the young, and the aged, and the weak ones, and when they have lied to them so well, and they have come to terms with the game, they will exterminate them. This isn’t a new or particularly insidious critique of the elite classes, and even the resolution of the film is so drenched in empty melodrama that its concerns are almost impossible to take seriously.
The film simply can’t make up its mind whether it is making a point or is a low budget, dark toned portrayal of the end of the world or about the bonds that are created by strangers in desperate situations, and therefore it is none of those. Better script and less stock directorial style would have transformed it into a taut nail biting thriller, but as it is now, Infected is all jaws and no teeth.
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