![]() However, not long after, Elena edstarted seeing some adverse effects on him from the medication that was supposed to improve his condition. After he gets diagnosed with ADHD, he is required to take the prescribed meds to cope with it. While that is a matter she needs to deal with on her own, she also needs to figure out parenting for Tom, who goes through constant trouble at his school from the teachers, who consider him a ‘problem child’ due to his erratic behavior. While his father promised to share some amount every month for the family, he seems to have abandoned them to figure out things on their own. They live on a safety net from the government while she tries to make ends meet by taking up work here and there as a blue-collar worker. ![]() We meet Elena (Julia Chavez), a Mexican woman who lives in the US, along with her young son – Tom (Israel Rodriguez). This film was a part of prestigious film festivals across the globe from Toronto, Tokyo, and Venice. While telling the story of a mother and her young son, it also begs us to consider the identity concerns revolving around these individuals trying to adjust to their new environments. #AFTERMATH ROTTEN TOMATOES MOVIE#Actually, just one.Ĭredit Duffield for making this dystopia feel labor-exploitation lived-in, gutted and depopulated, and the “pod” is pretty impressive.īut the movie with those settings needed some action, man, or a lot more than this.How do we define a healthy parent-child relationship? What qualities does one need to have for their way of parenting to be considered effective? Written and directed by Laura Santullo and Rodrigo Plá, ‘The Other Tom’ is a profoundly affecting drama that introspects on such questions without turning them into something sentimental. And the Canadian Gosselin (“Kiss Me Like a Lover”) has a moment or two. Krause (“White Rabbit,” “The Descendants”) makes a sort of Edward Scissorhands impression, which doesn’t give us enough to connect with. The plot is strictly low-stakes, with the characters’ emotions matching that. The threat is “generic,” the “family” lives and entertains itself in “Little House on the Prairie” no-tech fashion, and the passion is dispassionate. The “police cruisers” look suspiciously like assorted specialty conduit-bending tools, or droid soldiers from the “Star Wars” universe. The other kids in the family have to mimic a keyboard and interpret his “speech.” ![]() #AFTERMATH ROTTEN TOMATOES HOW TO#Molly Parker is the “mother,” but blonde teen Dara ( Juliette Gosselin) takes a special interest in this “dweller.”Ĭan young love blossom amid the gloom? Who or what might stand in the way?Ī clever touch, thanks to thought-to-type commands on his computer, Darwin has forgotten how to speak. But you can figure out it’s been riding that old trope, “the world isn’t as poisonous as they’ve been saying.”ĭarwin stands up for the first time in years, wanders outside, and wouldn’t you know it, finds a “family” living in the woods, beyond the reach of the “police cruiser” drones. “The purification will go off in 15 minutes…Goodbye, Darwin.”Ĭapitalism. But a power outage that starts a verbal countdown of his breathable O2 supply does. That’s not enough to get him out of his chair. Any distractions and a disembodied voice barks “Continue working, CONTINUE WORKING NOW.” It’s not like he can afford to not do the job that keeps his air flowing his meals coming and and push-button supersuit (he can shower inside it and never take it off) operating.īut one distraction jolts him. It’s just that not enough happens.Įditor turned director and co-writer Benjamin Duffield serves up a new version of the post-apocalyptic dystopia, limited in perspective and scope, but myopic, faintly paranoid and competently acted.Īn older man tells us this story in voice over, about the days, nights and years when he life in a “sanctuary pod,” cubicle-sized self-contained apartments where people like him stayed in the same chair all day, eating meals, playing games, sending texts to his mom in a separate pod and working - remote control operating front-end loaders for the mining that produces the minerals needed to make sanctuary pods more efficient.ĭarwin (Nick Krause) has been in his pod nine years, since “the greatest war of all” killed most of humanity and made the Earth uninhabitable. What’s here is perfectly, if a tad blandly, realized. ![]() ![]() There isn’t much to “2149: The Aftermath,” another entry in the dreaded, cinema-consuming “YA-sci-fi” genre. ![]()
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