‘In the Lost Lands’ Review: Dave Bautista and Milla Jovovich Take a Dystopian-Future Road Trip

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Despite “Game of Thrones,” which first aired 14 years ago and became incredibly popular, it’s unexpected that “In the Lost Lands” is only the second time author George R.R. Martin’s work has been translated for the big screen (with the first being the low-budget sci-fi horror film “Nightflyers” from 1987). If you’re a fan of that TV series and its spinoffs, don’t anticipate the same grandeur or complexity in storytelling from this movie, as it’s based on a short story. However, as a standalone piece, the ninth collaboration between director Paul W.S. Anderson and actress Milla Jovovich offers enjoyable popcorn-style fantasy entertainment – an engaging, action-packed adventure that compensates for lack of depth with its fun factor.

In a grungy, rugged manner, Dave Bautista portrays mercenary nomad Boyce who shares his story – a blend of magic, witches, quests, monsters, good versus evil – in a straight-to-camera narrative. However, the grandeur suggested by this description might be misleading as the tale he unfolds is more like an action-packed “Mad Max” series with fantasy elements rather than a traditional epic like “Lord of the Rings” or “Game of Thrones.

The character under discussion is Gray Alys, portrayed by Milla Jovovich, who was about to be executed for heresy by Ash (Arly Jover), a zealous enforcer in a future where both a monarchy and a church with cult-like tendencies hold power. However, she narrowly escapes this fate and is visited secretly by Queen Melange (Amara Okereke). This cunning queen desires the ability to transform into a beast, similar to certain werewolves living beyond the last remnants of human civilization. After her departure, Jerais (Simon Loof), her loyal subject, pleads with Gray Alys not to succeed in this task, as such power could only lead to corruption and harm their relationship. With a commitment to fulfilling all requests, our protagonist is now bound by two conflicting goals, marking the start of the main plot.

Despite some reservations, she needs to venture into the treacherous Lost Lands to locate a “Shapeshifter” and obtain its essence for the Queen. To accomplish this task, she enlists the services of tough-as-nails Boyce as her guide and protector. Notably, he carries a shotgun adorned with a venomous double-headed rattlesnake, ready to attack any foe his bullets fail to hit. However, it’s worth noting that Gray Alys is no pushover – she possesses an array of unique magical abilities (later unveiled), leading one to ponder why she needs an escort at all. It goes without saying that this film thrives on suspending disbelief, or else the entire narrative might crumble.

Anderson effortlessly invites you to set aside your doubts by masterfully blending suspenseful and visually stimulating elements. The overall style, while slightly altered, shares similarities with the visual style polished through the “Resident Evil” series, which catapulted the director-actor duo to fame: Elements of gothic horror, steampunk, and video game aesthetics; slow motion sequences and subdued color schemes; death-defying stunts made even more extraordinary with the help of computer-generated imagery.

The style is so exaggerated that it seems unconnected from real life. This might be beneficial, considering the flimsy structure of episodic events in the screenplay by the director and Constantin Werner. Despite a religious schism within the throne, a rebellion by the oppressed masses, and a “revolution,” there’s not much depth beneath the intricate, busy exterior. However, this surface is consistently captivating, largely due to the skillful contributions of production designer Lukasz Trzcinski, costume designer Milena Jaroszek, visual effects supervisor Dennis Berardi, cinematographer Glen MacPherson, and editor Niven Howie who maintains a swift pace.

Some contributors for this production likely joined due to filming in Poland, while others have a longstanding relationship with Anderson. They seem to have mastered the art of creating visual worlds together. The movie “In the Lost Lands” has a unique feel compared to previous collaborations, thanks to a Western-inspired theme during the middle part, where the main characters race through barren landscapes while being chased by Ash’s makeshift posse. If you didn’t recognize the genre reference from the dusty, sepia-toned images, Boyle’s clothing reminiscent of Sergio Leone solidifies it.

The over-the-top action sequences, such as a hand-to-hand fight on a school bus transformed into an aerial cable car traversing a massive canyon, are undeniably captivating, regardless of our limited emotional connection to the characters or their lack of engaging dialogue or chemistry. The actors are essentially repeating familiar actions, including plenty of high-impact fighting scenes, but they manage it skillfully, and the side characters are perfectly cast in their one-dimensional roles.

Or, in a more conversational tone:

The action sequences in this movie, like the hand-to-hand fight on a school bus turned into an aerial cable car crossing a huge canyon, are hard to ignore. It doesn’t really matter if we don’t feel too attached to the characters or they don’t have much chemistry, as their dialogue is not particularly engaging. However, they still do what they need to do pretty well, and the supporting actors fit perfectly in their one-dimensional roles.

It’s understood that simple action films like these aren’t known for their subtlety or deep character development, unlike complex productions such as “Dune.” Instead, Paul W.S. Anderson’s work often celebrates the thrill of polished visual effects, reminiscent of popular video games and graphic novels. If a movie like “In the Lost Lands” provides entertainment, why search for something “more”? Just sit back, relax, and enjoy the ride. The pleasure is as innocent as you choose to perceive it.

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2025-03-07 01:50