Transit 17
The title of the film comes from Transit 17 which tells the story of a post-apocalyptic United Kingdom, this film revolves around a violence that has always existed within the human race. Guy Bleyaert takes you through this journey as he is the director and also one of the actors along with Zara Phythian, Lee A. Charles in the ‘Transit 17’ cast.
Transit 17 seems inspired to show the continuing struggles and failures of what society and culture once had and what this dystopian world has become and how it could improve. Overall the screenplay had its ups and downs, but it also contained strong good points where characters shone in their respective ways. It was encouraging to see modest and realistic acting value despite the socio-political background the film was set in.
In the end, there are those scenes along a trail that a Belgium-based group of resistance fighters are tasked to carry out, Kidnap and retreat the daughter of a billionaire. But wait! It later emerges that she is actually the barer of the antigen that can neutralize the virus, and the only thing apart from bandits, mercenaries and endless hordes of the undead that stands in their way is a burly elite commander bent on annihilating the resistance.
At least for the Commander, who in addition has almost no engagement throughout the film, I think the only drive to achieve that motivation or to reach the end of the story resides in him rendering service to an unknown General who for some odd reason shows up as a hologram in one sitting and almost changes his tone in the very second dialogue scene they have.
This is more fun than just going on a diet and potentially starving oneself, but Blyer has to run away in nine months, so I try to isolate himself from the entire team while holding the main focus. However, as horrible as it does get (and it does get as horrible as what you can imagine), his team remains firmly determined to accomplish the objective.
The rest of the story falls right in place with other genre thrillers as some of its protagonists are slowly picked off one by one, though these occurrences unfortunately land in major plot hole territory by the end of the film. Bleyaert also serves as one of the film’s handy stunt drivers and fight choreographers, the latter as proved much to the benefit of Charles and Phythian, as well as actor and martial artist Silvio Simac.
As for how Transit 17 makes up for these errors, it does so through powerful performances from notably Stahl, Phythian and Flanders and some intriguing character arcs and exchanges. They also get to employ some nice cinematography at times throughout the story to which action gets to benefit in some capacity despite some tight shots. More importantly though, it would have been immensely helpful if the fight scenes had better sound editing. Without it, the scenes in their current form weaken and stifle no matter how good some of the stars and shots appear.
Transit 17 is the epitome of what a fully realized indpendently operated feature film should strive to be in today’s world a mixture of those films we admire so much from the past like Alien, Predator or even the arrogant Resident Evil series. It is worthwhile only for those who genuinely love the genre of action and horror and happen to be collectors of the same. Please do not expect any niceties.
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