Can Disaster Movies Survive a Pandemic?

This spring, when It seemed that films about the epidemic might lose their appeal – too close to home, you know? – instead eagerly sought them out. Fingering And the outbreak Streaming charts increased.

That hunger can explain the logic behind songbird, But a Michael Bay-produced riff Coronavirus epidemic, Which is on video-on-demand this month. While most big-budget popcorn films were pushed until next year, songbird Made specifically to come in the moment. It was the first film to shoot in Los Angeles when the lockdown was relaxed this spring.

Quick-turnaround production is evident in the final product, with its poor fast-food quality, such as director Adam Mason trying to feed a fleeting craving before passing away. Unfortunately, he forgot to make the film good. You can’t serve a tur between two buns and call it a hamburger. Or rather, you can try, but people will notice.

Disaster films, such as the horror flick, reflect the concerns of their era, although they rarely do such as Transparent songbird. Generally, people look for disaster films because they want the thrill of watching the destruction from the safety of the theater. As with Mason’s film, they are watching an epidemic film quarantined at home, zero steps removed from the tragedy.

Thomas Doherty, a cultural historian and professor of American studies at Brandis University, says, “We kind of go to disaster film to deal with real dangers, which is less terrible than reading the news.” In the 1950s, many of these films used alien invasions or radioactive creatures to detect Cold War fears. In the 70s, major disaster blockers like The towering inferno And The Poseidon Adventure People are struggling with the threat of failing technologies. “Usually, disaster films just beat the left or right of what is really happening,” Doherty says.

No songbird, Which has no supernatural layer. The film is set in the 214th week of a hardcore lockout in 2024; Kovid-19 has continued to mutate, and its latest strain, Kovid-23, kills most people who contract it. It follows a poor, immune courier Niko (KJ Apa and his abs) and a wealthy, squirrel couple (Bradley Whitford and Demi Moore) as they discover a world destroyed by viruses and a logically confused and ruled by the Drakean government Navigate the lockdown. Everyone, aka “Mooneyes” (who comprise a fraction of the percentage of the population), except immunity, are always stuck in their homes, equipped with special disinfectant technology to get packages and supplies, even if Whatever their income level is. (How they pay rent or buy groceries is never explained.) If they violate the rules or even have a slight fever, they are captured by armed guards and Are taken to illegal death camps called “Q zones”. They are overseen by an all-powerful department of cleanliness, which has an autocratic grip on the nation and is ruled by a twisted anonymous bureaucrat who kills for sport, how ever the mind. Nico asks his wealthy customers to help his girlfriend acquire a black market fake immune bracelet so that he can avoid the lockdown and escape with her. Yes that’s right The bad guy in this film is an evil public servant enforcing public health laws, and the good man is bravely trying to overturn those laws to see his new girlfriend. A miracle if the plot outline was cribbed from right-wing message boards.

now, songbird If it was any fun, its red-state-bait opportunism could be forgiven. After all, disaster films do not require good politics or upliftment of mankind to work. A disaster film has different definitions, but to qualify for the genre is a commitment to a non-catastrophic destruction spectacle. (This is why there is a 9/11 movie like Oliver Stone world Trade Center A disaster film, but Paul Greengrass United 93 Is not.) A normally engaging, enigmatic storyline is helped, but a disaster film eventually has to deliver whiz-bang.