MamaGravity good back-story, and good acting

Fairaher The film makes a home in your brain and the only cure is to see it again.

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Josephina Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

s3276169 I saw the short for this film and have been hanging out for it for a while. I had expected a survivalist horror, with lots of gnashing teeth and action. Indeed there is an element of that but what I hadn't expected, was a deeply sad love story. This is in many ways a simple film. It uses basic settings combined with a cinematic ploy I'm not fond of cutting, between past and present segments. That said, in the context of this film, it works very very effectively bringing together the final scenes in a very poignant and touching manner. I think the writers, director and actors, are to be congratulated. What has been achieved here is very different and very clever. More than that, its engaging and inherently watchable. I have to confess I had worked out what was going on about two thirds of the way through but that in no way diminished the emotion of the final scene when it arrived. A very special little film, that does remarkable things, with a limited budget. 8/10 from me.

S. Soma There are reviewers here on IMDb that whinge on relentlessly about this or that movie not being "original" or "nothing new". Well, as far as I know, HOSTILE is completely original at least insofar as it synthesizes a post-apocalyptic/zombie story with a hand-wringing, chest-beating love story, which is certainly something I'VE never seen before. And as original as it may be, it did nothing for me. I found this very surprising because the originality whingers certainly seem to be of the opinion that originality and "freshness" is virtually the single attribute to which all movies should aspire. And yet, here I am, all unimpressed with HOSTILE, originality and all.HOSTILE generally appears to be two movies in one with the heroin character apparently the only shared element between the two parallel plot lines. Until the very last scene of the movie, with the single exception of the heroin, the two plot lines appear to be completely unconnected. It LOOKS as if we are simply watching our heroin's life as it is in the post-apocalyptic time as contrasted with her life in the "before time", prior to whatever happened which resulted in the apocalypse.The movie opens with the more or less stereotypical collection of scenes depicting post-apocalyptic life for your average survivor. A bundled up character (our heroin) going about a dry and dusty, desert-y landscape, everything looking completely dilapidated and rusty and run down, trying to collect what survival resources she can find. She's armed and very careful, always on the lookout for what are apparently post-apocalyptic monsters (which are HOSTILE's version of zombies).And then suddenly, with an abrupt scene change, we're in a metropolitan art gallery in the context of an art show where we see our same previously dusty heroin attending an art show but only for the purposes of getting out of the pouring rain outside. Within moments, the interminable flirtiness and romance with the owner of the art gallery commences, and with all the Kleenex-inducing vicissitudes of a stormy romance and blah blah blah.And so it goes for the rest of the movie, flipping back and forth between these two disparate plot lines; a few minutes of life and death struggle between our heroin and a post-apocalyptic zombie-thing (which looks for all the world like a concentration-camp-victim with a terrible skin problem) which is apparently grimly determined to eat her, and then we jarringly swap over to some romantically angsty moments in the before time, and then meanwhile back at the apocalypse...Certainly the pre-apocalyptic through line has all the great romantic elements for the unimaginative: the male romantic interest is wealthy, tall, darkly handsome, has an accent, and "saves" our heroin from her own self-destructive tendencies and... snore.It's never made clear what caused the apocalypse. Toward the end of the movie there is some vaguely referenced rather small scale terrorist chemical attack which does significant damage to the art gallery owner, but there is no clear relationship established between this event and the apocalypse. At all. But I think we're supposed to make that assumption.Only at the very last moments of the movie are the deeper connections between the pre-and-post-apocalypse made clear. Depending upon your taste I suppose SOME people may view it as very romantical, but it struck me as utter twaddle and as believable as a winged pig.

dustin_pryor-02848 The apocalypse happened. "How" morphs itself into "What Now?"Behind a plethora of sweeping landscape shots depicting the years following an apocalyptic event, Mathieu Turi's feature debut Hostile gives us the story of Juliette (Brittany Ashworth) and her struggle to survive.Sounds cliche, right?Wrong. It took a while to digest this film as initially I had written it off as "just another post-apocalyptic film." Let's face it, there are so many in this genre.The film centers around Juliette and her struggle to stay alive following a debilitating car accident while on a scavenging mission. She must not only survive the barrenness of nature while badly injured, but a threat far more sinister.We're offered abbreviated glimpses into her life pre-apocalypse as she longs for the days before everything went sideways. During these sequences is when Ashworth really gives a believable depth to her character. There's a palpable honesty in her interaction with the people in her previous life's sphere - most notably the sophisticated and charming Jack (Gregory Fitoussi).Juliette's memories throughout the film not only to provide a contrast to her current situation but also provide a good break in the inescapable dread of being surrounded by unknown dangers.The tension in the film is abundant and while the idea of the damsel Juliette needing to be saved borders on tongue-in-cheek, the climactic confrontation is equal parts tense and emotional.

cdcrb Probably a masterpiece. a morality "western". in the 1880's, a soldier, with a very violent and clear conscience, is about to be discharged. as his last assignment, he is charged with taking a group of Indians back to montana. along the way he meets violence and his past. you really need to just get into the movie. let it take you on its journey.