'In the Lost Lands' Review: A Post-Apocalyptic Fantasy with Predictable Plot and Lackluster Chemistry
In a post-apocalyptic world, one thing is certain: the names of places are brutally literal. Paul W.S. Anderson’s latest fantasy film, In the Lost Lands, makes this abundantly clear. The locations in the film often reveal their true nature just from their names. The titular Lost Lands are a decayed region filled with ruins and menacing creatures. Then there's "Skull River," which, unsurprisingly, is home to thousands of skulls. You can also predict the nature of "City Under the Mountain" and "Fire Fields" based on their names alone. The movie's setting feels like a world where maps have vanished, and even primary colors seem to have disappeared, leaving only grim hues behind.
Courtesy of Vertical
The movie opens with a dystopian warning: "The world you know is gone." This familiar trope is common in post-apocalyptic tales, yet it feels more like a public service announcement than a compelling start. Based on a short story by George R.R. Martin (author of Game of Thrones), the story begins with narration from Boyce, played by Dave Bautista. His gruff performance evokes the vibe of a Sergio Leone Western, setting the tone for the adventure that follows.
The central character, Gray Alys, a witch portrayed by Milla Jovovich (Anderson’s wife and frequent collaborator), faces immediate danger. She's about to be hanged by a religious cult led by the Patriarch (Fraser James) and his enforcer, Ash (Arly Jover). However, it turns out that hanging a witch is far from easy.
The plot kicks off when the Queen (Amara Okereke) asks Gray Alys to journey into the Lost Lands to obtain the power of shape-shifting, enabling her to be with her lover, a werewolf. Meanwhile, Jerais (Simon Loof), the Queen's "Captain of Overwatch" and secret admirer, subtly requests that Gray Alys fail in her mission. Despite the contradictions in their demands, Gray Alys agrees to take on both tasks, embodying the uncertainty and fluidity typical of witchcraft.
"I’ll need until the full moon," she tells the Queen, avoiding a more specific timeframe.
Gray Alys enlists Boyce as her guide on this treacherous journey. When she mentions searching for a man who can transform into a beast, Boyce retorts, "All men are beasts." She responds, "But not all men are monsters." The dialogue, while direct and blunt, lacks the depth of more sophisticated storytelling.
As the duo ventures deeper into the Lost Lands, they encounter various dangers, including Ash’s relentless pursuit and monstrous creatures created with CGI. Boyce’s favorite weapon is his trusty firearm, but he also has a two-headed snake, which meets an unfortunate end. This moment causes an unusual emotional reaction from Boyce, leading Gray Alys to comment, "I never saw a man get emotional about a snake before." Boyce gruffly replies, "I’m not emotional. Damn good snake, that’s all."
While the film showcases Anderson's flair for creating striking post-apocalyptic visuals, mixing real and computer-generated environments, the story falters. The action sequences, like a thrilling gunfight on a cable car (really an old bus) suspended above a ruined city, stand out as highlights. However, the film suffers from an overstuffed yet underdeveloped plot, with so many twists and revelations toward the end that it risks overwhelming the audience.
The chemistry between the two leads is barely noticeable, with Jovovich defaulting to her usual tough-girl persona and Bautista struggling to show off his charisma. Unlike many of Anderson’s previous works, In the Lost Lands isn’t based on a video game, though it often feels like one—except one that would be tedious to play.
For fans of Anderson's previous work, In the Lost Lands may offer a familiar visual experience, but for those seeking a deeper story and stronger character dynamics, this post-apocalyptic fantasy may leave much to be desired.
