If the 2020 pandemic has anything to teach us it’s that humans will do anything to survive, and many will regress to savagery both out in the cold or in a domestic setting. Basically, either way, we’re fucked, and that is all there is to it. When you think of it, that’s a pretty grim picture to paint, but when you look at how we’ve been treating ourselves and our relationship to the planet ever since the Industrial Revolution, it’s only predictable that something greater, or maybe even something from deep within our own home would have lashed back and taught us a nasty lesson.
Ben Wheatley, no stranger to horrific visions (Kill List, A Field in England), devises a setup that already places his characters in a rather bad position. You see, the Earth has been through an unknown plague of sorts. Society has broken down, and scientists are searching for a cure and hope for humanity. In the interim, the disappearance of a scientist who went out into the woods to search for her own cure, which has to do with mycorrhizal emanations and their role in finding this elusive cure. [The movie goes into elaborate explanations of how this works, and it only gets more complicated as the movie goes deeper, but that’s not the focal point.]
Enter Martin Lowery (Joel Fry), who alongside Alma (Ellorchia Torchia, last seen in Midsommar), a park ranger, set out to find the scientist who is somewhere in the woods. However, their search — and the woods themselves — starts to take an ominous turn rather quickly. An empty tent that seems to have houses a family shows up, as does a sense of being followed. The pair gets viciously attacked in the thick of the night by unseen vandals who take off with all that they have, including their shoes. The following day, Martin and Alma continue, but Martin injures his foot when he steps on an unseen piece of sharp wood. Into the already fire scene comes Zach (Reece Shearsmith), a scraggly-haired loner who comes with much-needed help… and a little extra.
It’s that extra that sets the tone of the movie and drives it deeper into its heart of darkness. Soon enough, we’re seeing the sleeping cast being photographed without their consent, and a dinner that follows devolves into a sustained balancing act involving a sharp object and Martin’s injured foot that rivals the hobbling scene in Misery. Even then, Wheatley is not done and has more weirdness to show. I couldn’t but help find a hint of Apocalypse Now in the events that follow when the twosome miraculously and literally by the skin of their teeth reach the nebulous scientist, and this may be where the movie either loses you or wins you over.
For me, the insanity of its final thirty minutes or so we’re pretty intense, but a tad confusing. So much of what transpires hinges on whether you ascribe to ancient legends and the concept that nature may be more sentient than we give it credit for. Wheatley, however, makes the entire movie come together into one delirious climactic sequence, and while I walked out knowing precious little, the fact that its own brand of dread came with the madness that lurks deep inside was enough for me.
In the Earth is available on Prime.