Zone 414
Saban FilmsA flustered, debuting director strikes out at a vague future once again. Andrew Baird staggers into the big leagues with Zone 414, a feature that should offer no surprises. More fuel for the never-ending fire of science fiction oddities. But Guy Pearce, bless his heart, has no time for mediocrity. Not anymore, anyway. Nor does it seem Baird has the patience for it. He and Pearce present Zone 414 with the usual array of vague, sinister movements and dark heroes akin to that of Philip K. Dick’s writing. Most sci-fi wishes to hit those brooding tones, but few actually manage it. If it is seedy characters and the fascinating attraction between freaks and finance is bolstered ever so suddenly by this science-fiction piece.
It is the dialogue that best embodies the difference between leading man David Carmichael (Pearce) and those he interrogates for information on a missing daughter. His inevitable leather jacket and brooding look are a clear clash with the ill-fitting suits of those higher on the food chain. Zone 414’s finest quality is that its fantasy and science-fiction elements do not stray too far from its criticism of reality. Awkward little changes are made, and these slight, blink-and-you'll-miss-it interactions are the foundation for a story that does not need a science-fiction backdrop. A sinister businessman conveys much of the story in one scene, all the while he slowly swarms his way around the room. It is nothing out of the ordinary until a bib is pinned around his neck and he is handed what audiences will have to assume is space milk.
But that is the fascinating corner Zone 414 wishes to pocket itself into. Its embracing of all those odd notes and the occasional slick sighting of a gruff-looking hero do well to straddle the wilder moments of the science-fiction genre. To take apart the expected tropes of the genre, Baird applies a grim layer of violence and bloodiness. It works effectively enough. The expectation of stern shootings and slightly jargon-fuelled narratives are there, but it is bolstered exponentially by Pearce and the lack of personality Carmichael seems to own. His lack of specifics means an audience can pour their own meanings and personalities onto him, should they wish to do so. It is harder still to convey much emotion from a walking mannequin with a five o’clock shadow and gruff attitude, but Pearce plays the part very well.
Stronger than expected, and far more artistically rewarding than most of the modern sci-fi dreck, Zone 414 is a delightfully dark film with more than enough gusto behind it. Well-defined areas of intrigue and a nice blur that feels a tad like Blade Runner meets You Were Never Really Here means Zone 414 has some popular influences behind it. Pearce embodies the gruff private detective stereotype convincingly enough, and the blurring of influences and pulpy, explorative dialogue is an interesting one. Baird has crafted a science-fiction film, that much is run of the mill work, but he has managed to make this one stand out. Zone 414 has strong ideas that are implemented well, carried exponentially by Pearce and his satisfying ability to turn the gruffest mute characters into something palatable.