Fun turns from Clarke Peters and Alison Doody enliven this yawn-inducing vision of a futuristic surveillance state
Set 20 or so years in the future, this low-budget, colour-drained sci-fi thriller is a curate’s egg – one that’s been overboiled and well past its sell-by date. It was finished back in 2017 and is only now dripping into cinemas, where it’s sure to last mere minutes before being swept up into some streaming platform’s slipstream.
Nothing ages as poorly as a dystopia. Division 19 proves the point by relitigating the anxieties of 2016, positing a surveillance state where an all-powerful TV company called Panopticon (groan) broadcasts 24/7 coverage from prisons to a supposedly enthralled population, although the budget seemingly didn’t stretch far enough for many shots of rapt extras soaking up the show.
Set 20 or so years in the future, this low-budget, colour-drained sci-fi thriller is a curate’s egg – one that’s been overboiled and well past its sell-by date. It was finished back in 2017 and is only now dripping into cinemas, where it’s sure to last mere minutes before being swept up into some streaming platform’s slipstream.
Nothing ages as poorly as a dystopia. Division 19 proves the point by relitigating the anxieties of 2016, positing a surveillance state where an all-powerful TV company called Panopticon (groan) broadcasts 24/7 coverage from prisons to a supposedly enthralled population, although the budget seemingly didn’t stretch far enough for many shots of rapt extras soaking up the show.
- 6/20/2019
- by Leslie Felperin
- The Guardian - Film News
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