FEATURING: Suki Waterhouse, Jason Momoa, ,
PLOT: Exiled as an undesirable, a woman finds herself escorted to the wrong side of the border fence where she is abducted by a society of iron-pumping people-eaters; escaping after some heavy bodily losses, she finds the closest thing to a utopian village this side of the scorched wasteland.
WHY IT SHOULD MAKE THE LIST: In the follow-up to her debut hit, A Girl Walks Home Alone at Night, director Ana Amirpour imbues the harsh, sun-drenched world of The Bad Batch with the same dreamy otherness found in her nocturnal black and white feature. An oddly appropriate New Wave soundtrack underscores the joie de vivre that the exiles somehow maintain, while things get good and weird with a ’70s drug-dealer-style Keanu Reeves as the king of Comfort and Jim Carrey’s non-speaking, desert-wandering vagrant oddball. Also in the mix: cannibalism, Keanu-speechifying, and an LSD Eucharist.
COMMENTS: Upon its release, most reviewers dismissed The Bad Batch as a bad movie. 43% “Fresh” at Rotten Tomatoes, an IMDB featured user review railing on about its overall crumminess, and the movie was some several million shy of recouping its six-million-dollar budget. Washed upon our shores because of a quick release on Netflix and DVD, it would seem a hopeless case. It is not. The Bad Batch is one of the more novel films to have come out in a while. Bringing together elements of dystopian allegory and post-apocalyptic survivor story (sans actual apocalypse), it takes the difficult path of providing no backstory. Only as the movie unfolds does the bizarre reality start making (some) sense—albeit with heavy doses of strange circumstance and stranger characters.
We get our only glimpse of “civilized” society during the opening credits. Young Arlen (Suki Waterhouse) is tattooed behind the ear with “BB5040” and then shunted through a massive border fence with a sign outside that advises, “Beyond this fence is no longer the territory of Texas […] Good luck.” Almost immediately, she’s nabbed by a pair of muscle-bound bandits on a speeding golf cart and finds herself a prisoner in the shanty-est of shanty-towns. Relieved of both her right arm and leg to feed the locals, she hatches a clever escape: downing a bandit with an iron rod, she slides out of town on a skateboard. Picked up by a vagrant with a shopping cart, she’s dropped off in “Comfort,” where she finds… comfort, but no purpose. She only evolves after taking acid at a town rave hosted by Comfort’s ruler, a man credited as “The Dream,” played with jaundiced silkiness by Keanu Reeves.
The blazing sun of the south-of-Texas desert blinds by day, and the clear skies at night heighten Arlen’s spirit journey as she stumbles into the desert looking for purpose. The engine of the story is, in a way, revenge. She encounters one of her captors (and the captor’s daughter) sifting through a landfill, and the subsequent act of murder ironically forces Arlen to take responsibility for the daughter’s life. The cannibal society lives to pump iron, while Comfort’s society lives for pleasure and self-realization. Even in the wasteland, there is a stark divide between the “haves” and the “have-nots”. Things come to a head when “Miami Man” (Jason Momoa), tattoo and sketch artist, body-builder, butcher, and father, begins his hunt for his missing daughter. Drizzled throughout this sun-and-star-soaked drama are bizarre, eyebrow raising details: a “Jizzy-Fizzy” soda machine, pregnant machine-gun-toting bodyguards, the solemn trade of a snow-globe, and the Dream’s illuminating question to the daughter: “Is this your rabbit?”
In its bizarre way, The Bad Batch is a remix of A Girl Walks Home Alone at Night. Both films take place in ghost towns populated by unsavory, larger-than-life characters. Both focus on the awakening of a young woman’s sense of self. Both use a skateboard as a metaphor for freedom. The Bad Batch‘s tone is hard to pin down; El Topo springs to mind, but with a esque bent. Perhaps that’s why The Bad Batch did little more than confuse and disappoint the general public. Pity for them; but its eccentricities and meaty characters leave us with something fresh and delicious to chew on.
WHAT THE CRITICS SAY:
“…a trippy, sun-scorched apocalyptic horror film with a rom-com finish that gets as bloody, visceral and cannibalistic as its U.S. R rating will allow. “–Julia Cooper, Globe and Mail (contemporaneous)