Trisickle Magazine

Review: A Reckoning

The first quarter of 2010 saw Hollywood drop two visions of a post-apocalyptic future with The Book of Eli and The Road, but the film that magnanimously captures the essence of the scenario is a film you probably have yet to see.

A Reckoning was completed over a year ago, but as of yet has sadly been unavailable to a wide audience. Despite the possibility of distribution deals, both at home and abroad, bitter internal disputes have left the film’s future uncertain. While the full behind-the-scenes saga may never truly be known, the fact is, one of the most unique, haunting pieces of independent British cinema in recent years is still waiting to be discovered.

A Reckoning sees an unnamed Man alone in a derelict wasteland surrounded by abandoned buildings. In an attempt to bring a sense of normality to his life he creates a town of straw dolls: he spends time with them, teaches them in the classroom. However, as things develop the Man’s behaviour becomes increasingly more erratic: visions appear to him including a mysterious woman played by Axelle Carolyn. It then becomes clear that this is not a story of the world’s survival, but that of one man’s struggle within himself.

Leslie Simpson simply dominates the screen as the Man. Known primarily for his roles in Neil Marshall films, Dog Soldiers and The Descent, Simpson takes the potentially tricky task of being the film’s lone character and turns in an acting masterclass. From the early, lighter moments of humour as the Man interacts with the straw people, to moments of heartbreak and terrifying paranoia, Simpson’s performance is nothing short of flawless as he invites the audience to watch the character unravel before our very eyes.

Despite agreement that John Hillcoat’s adaptation of Cormac McCarthy’s The Road is a faithful adaptation of its source material, a lot of the scenes of seclusion, loneliness, or even ‘nothingness’ are excised in favour of thriller-style set pieces. It is in this aspect that first time director Andrew Barker, and A Reckoning as a whole, excels. Perhaps inspired by Werner Herzog, Barker allows the camera to continue to run that little bit longer in certain scenes, almost an attempt to capture an unexpected moment of beauty that people never usually see, or even look for. It may be art-house, but it never threatens to become pretentious. This kind of direction benefits immensely from being perfectly captured by director of photography, Adam Krajczinski. Comparisons can perhaps be drawn to the photography of Anton Corbijn: referencing his earlier work with Joy Division may seem like an elementary analogy, but it is not without justification.

The way these visual elements come together with a tremendous, restrained score, and Simpson’s voiceover, helps create an almost hypnotic atmosphere, each layer gently washing over you.

Due to its fantastic look, you can at times forget that this is a low budget independent production, and in that aspect any minor technical niggles can be forgiven. A Reckoning may not be for everyone. The film does not look to action spectacles for thrills, but it is no way boring. The film also certainly leaves a lot open for interpretation which some may find frustrating (hell, you are only viewing the film on the assumption that this is in fact the future), but those willing to give it a chance will find it an ultimately rewarding experience.

At a time when many independent filmmakers feel it necessary to resort to well-worn genres like zombies, it is refreshing to see a group of artists boldly attempt to create something different.

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