By Elisabeth Vincentelli
In this month’s selection of sci-fi, which is worse? Confronting the apocalypse or encountering our future selves?
‘Year 10’
Ben Goodger’s film begins by letting us know that a decade has passed since humanity’s demise (hence the name) and that the remaining few are resorting to cannibalism. Talk about misleading: The act of eating human flesh is scarcely depicted in the film, which is a comfort for those of us who mildly dreaded a post-apocalyptic tale similar to “Society of the Snow” or “Yellowjackets.”
The film — completely devoid of dialogue — is still profoundly oppressive and suffocating. Goodger presents a grim environment where danger is ever-present, survival is perpetually precarious, and any sound may draw unwanted focus. The narrative follows an unnamed young man (Toby Goodger) searching for medicine vital to keep a seriously ill young woman (Hannah Khalique-Brown) alive. That’s about as far as the script goes. What counts is the atmosphere, which “Year 10” expertly maintains, albeit painfully. It’s a rarity to witness a film in which merely surviving the day feels extremely arduous — all for the chance to linger in a nightmarish landscape. (Available for rent or purchase on most major platforms.)
‘My Old Ass’
Initially, “My Old Ass” seems to fall within a currently trending genre: the empowered, feminist twist on coming-of-age comedy. Elliott (Maisy Stella) is on the verge of 18, and everything appears to be going her way. She’s finally found the girl of her dreams and is enjoying a delightful last summer at a lake before departing from her family’s cranberry farm to attend college.
Adding to this, Megan Park’s film introduces another popular theme: the metaverse time confusion. After consuming mushrooms with her friends (Kerrice Brooks and Maddie Ziegler), Elliott awakens next to her 39-year-old self (Aubrey Plaza), who sternly advises her to steer clear of a specific Chad (Percy Hynes White). This poses a challenge as Elliott is developing feelings for him. For her, connecting with her older self (the two frequently converse on the phone, which reveals glimpses of a future that doesn’t seem particularly appealing) is less perplexing than falling for a man while believing she was gay.
Beneath its raucous surface, “My Old Ass” grapples with serious themes like free will and the burden of choices, pondering whether it’s wise to know what lies ahead and how to embrace difficulties. So, this was the underlying concept: Park established those familiar tropes only to subtly overturn them. (Available for streaming on Amazon Prime Video.)
‘Last Night on Earth’
Holly (Leven Rambin) and Ryan (Jake McLaughlin) are a passionate couple relishing the tranquility of the Tennessee countryside in their stylish Airstream. However, they’re not simply relaxing — they’re doing so before an asteroid obliterates the entire planet.
The premise of Marcos Efron’s film is reminiscent of Don McKellar’s similarly named “Last Night” (1999), where various residents of Toronto experience their final moments before the world ends. The atmosphere of the new film is more subdued and serene — sometimes even New Age — despite Efron awkwardly introducing a couple of armed threats with nefarious intentions. “Last Night on Earth” effectively engages in subtly disturbing scenarios, such as a family deciding to radically prepare for the impending disaster or fleeting interactions with a devout woman (Dee Wallace, known for iconic 1980s films like “E.T. the Extraterrestrial” and “The Howling”). Ultimately, it seems Efron poses the question: What do we want our demise to be like? (Available for streaming on Tubi.)
‘Sky Peals’
When Adam’s manager (Steve Oram) refers to him as a “people person” and asks him to be a greeter, it feels like a practical joke. Adam is kind enough but introverted and quiet. It’s hard to fault him for not being overly excited during his shifts at a dreary fast-food establishment linked to an equally dreary gas station, yet there is a deeper discontent at play. This comes to light when Adam discovers that his recently deceased father (Jeff Mirza) believed he was “from somewhere else” — implying, not from Earth. What does that imply for Adam, who has been torn between his father’s Pakistani heritage and his British mother’s side?
Moin Hussain’s film unfolds at a measured pace, fostering an entrancing atmosphere of existential doubt. Adam (known as Umer by his Pakistani relatives) finds himself in a state of limbo. Previously stuck in a dismal job in a surreal in-between space and uncertain about his living arrangements after his mother’s move, he now grapples with questions regarding his own humanity. But is he an alien or merely feeling alienated? The stark “Sky Peals” is a commendable entry into a burgeoning sci-fi subgenre that links aliens of the extraterrestrial kind with those of the refugee or immigrant nature, while also interrogating the fluid and shifting boundaries of mental health. (Available for rent or purchase on most major platforms.)
‘Murphy’
While David (Prabhu Mundkur, who also co-writes) is fiddling with his grandfather’s radio, a storm erupts and he hears a woman’s voice emerging from the antique device. He discovers he can actually communicate with her, leading to a dialogue. The woman, Janani (Roshini Prakash), coincidentally attends the same university as David, but they are strangers, prompting them to arrange a meeting. Both feel disappointed when the other fails to appear, but they soon realize they are living in different years: David is in 2024 while Janani is in 1996. (Fans of time-warp romances will recognize a similar premise from “Ditto,” a South Korean film from 2000, which was remade under the same title in 2022, so ditto “Ditto.”)
Director B.S.P. Varma takes his time to set the story in motion, yet the Goa-based “Murphy” finds solid footing once David and Janani uncover their shared interests — a professor named Joe (also played by Mundkur) becomes pivotal — and the narrative accelerates. The film delves into the paradoxes emerging from meddling with the past to change the future, which is, if you’re still with me, the present. As we unravel the connection between David and Janani — extending beyond mere airwaves — Varma unabashedly heightens the romantic implications and the plot twist, which feels just about right. (Available for rent or purchase on Amazon Prime Video, Google Play, or YouTube.)
