‘The Bad Batch’ Takes A Slow Trip Through The Wasteland

06.22.17 6 months ago

Annapurna

Director Ana Lily Amirpour described her debut feature, A Girl Walks Home Alone at Night, as “the first Iranian vampire Spaghetti Western,” but even those colorful descriptors don’t account for all the meats in that genre stew. There’s also high-constrast black-and-white photography of film noir, the deadpan multiculturalism of Jim Jarmusch, a character who uncannily resembles James Dean, and an unmistakably modern jolt of intersectional feminism. In other words, Amirpour is not afraid to mix-and-match conceits and she’s fluent in multiple visual languages, to the point where every shot is arrestingly eccentric.

Yet the one serious problem with A Girl Walks Home Alone at Night is that it’s all conceit, the type of film that gets called a “mood piece” because the rich atmosphere compensates for the absence of characterization, tension, and narrative momentum — all of which may sound like banalities when speaking of high art, but which are essential to make genre films pop. That minor weakness morphs into a crippling liability in Amirpour’s disappointing follow-up, The Bad Batch, another cult-ready genre mash-up that dreams up a fascinating and beautiful dystopia, but fails to animate it with meaningful detail or dramatic life. Imagine Escape from New York as Languish in New York and you get the idea.

Though produced well before the 2016 election, The Bad Batch is serendipitously timed to critique an administration anxious to ramp up incarcerations and build a wall across the Mexican border. In Amirpour’s future world, society’s undesirables, called “the bad batch,” are banished to the other side of a fence separating Texas from the arid desert wasteland of a Mad Max movie. With no laws, no fertile land, and a crude economy that occasionally accepts “dream dollars” as currency, these outcasts are expected to fend for themselves in what amounts to a vast prison yard without guards. Though a makeshift society has developed out of the extreme poverty and transience, it’s still a Darwinian environment that favors the strong.

That spells trouble immediately for the film’s heroine, Arlen (Suki Waterhouse), who’s scooped up by a band of cannibals not long after getting processed. In a harrowing sequence, set to Ace of Base’s “All That She Wants,” Arlen has an arm and a leg lopped off for cannibal barbecue and the stumps crudely soldered off with the hot frying pan. She  manages to escape by killing one of her captors and hobbling away the dead woman’s cherubic little girl, who turns out to be a precious commodity. When she makes her way to the community of Comfort, Arlen finds herself caught between two powerful men: The Dream (Keanu Reeves), a wealthy cult figure who dresses in pristine white and surrounds himself with the women he’s impregnated, and Miami Man (Jason Momoa), a cannibal who will stop at nothing to get the abducted girl back.

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