Humane, 2024.
Directed by Caitlin Cronenberg.
Starring Jay Baruchel, Emily Hampshire, Peter Gallagher, Enrico Colantoni, Sebastian Chacon, Alanna Bale, Sirena Gulamgaus, Uni Park, Martin Roach, Blessing Adedijo, Joel Gagne, and Franckie Francois.
SYNOPSIS:
In the wake of an environmental collapse that is forcing humanity to shed 20% of its population, a family dinner erupts into chaos when a father’s plan to enlist in the government’s new euthanasia program goes horribly awry.
Humane takes a darkly fascinating, timely concept regarding ecological collapse and overpopulation, competently establishes some of that world-building that’s not too far off from a potentially bleak future reality, and then devolves into an hour of filthy rich siblings, most of whom are unlikeable, shouting at each other in an attempt to decide who they are going to sacrifice as part of an ongoing government-funded euthanasia cleansing.
There is also nothing wrong with these characters being offputting and morally bankrupt when a sudden gathering organized by patriarch Charles York (Peter Gallagher) turns into an evening of survival, especially when there are military personnel and individuals even more psychotic overseeing the euthanasia process (a procedure with rewards that seemingly sets up the rest of one’s family financially for life), but the script from Michael Sparaga lacks characterization and complexity beyond one or two defining traits for each sibling. As a result, much of the backstabbing and betrayal between two particular siblings strains credibility and comes across as the screenplay looking to stretch the physical family feud long past its repetitive breaking point.
This is frustrating since, again, the hook grabs attention. Charles is a former celebrated news reporter who financially benefited from years of society ignoring climate change, among other pressing issues. Somewhat of a failure as a parent and husband, currently with a new partner named Dawn Kim (Uni Park), who has faced racism at extreme lengths of having her restaurant burned down (the script also mentions that for whatever reason, Asians, in general, have been made public enemy number one for the current disastrous state of the planet, without ever really expanding on that.) Charles cares deeply about his legacy. He is also looking for some form of redemption, so he signs himself and Dawn up for the euthanasia process while inviting his four adult children (one adopted son) over to say goodbye without explaining what the reunion is about.
The children are Jared’s (Jay Baruchel) government mouthpiece for the euthanasia program, Rachel’s (Emily Hampshire) sociopathic businesswoman who doesn’t realize or seem to care that her heartlessness gets her daughter Mia (Sirena Gulamgaus) endlessly bullied at school, recovering junkie and adopted son Noah (Sebastian Chacon) and aspiring actress Ashley (Alanna Bale.) Due to not knowing the nature of this reunion, Mia also ends up in the house. It is also established that Noah and Ashley are closer to one another than everyone else in this dysfunctional family.
Following dinner, Charles blurts out what is happening here; the euthanasia enforcements arrive, insisting that the family figure out a way to provide a second body since Dawn had run off before they arrived. Whether there is a deeper significance to that remains a mystery. There is no backing out, and the menacing ringleader, Bob (Enrico Colantoni), scrambles the Wi-Fi and is certain that these people are so selfish they will try to kill each other to ensure they are not the second death. He also makes clear that this group does not euthanize children (although the slimy Jared is seen on television early on promoting the idea, admitting that he would allow his teenage son to consider it), ordering his armed guards to bring Mia outside and into his van as insurance while the family decides what to do.
The euthanasia process is unsettlingly creepy, as fully seen during an opening prologue juxtaposed with an upbeat, cheerful song choice. The film consistently finds pockets to quickly drop tiny bits of information about this world and how the service is handled in the public eye, including gallows humor commercials thanking regular citizens for their suicide contributions.
That’s all one way of saying Humane has the ingredients to be a sharp and socially aware takedown of the rich and a reflection of a grim, possible reality if everyone on this planet doesn’t get on the same page to do something about devastating global concerns. However, the film takes that intrigue and squanders it all on a sibling match of who can yell the loudest and survive the most injuries. Characters repeatedly try to kill each other, form alliances, betray one another, and show their worst sides in ways that don’t always feel believable, even for these wealthy, self-centered assholes. It becomes exhausting, and at one point, we side with the gleeful euthanizing murderer for trying to convince Mia that her mom is an awful person. Hilariously, it also tries to give that character a dramatic backstory while dropping the psychopathic behavior for roughly two minutes.
What Humane does have going for it is that it is the debut from Caitlin Cronenberg, and while this is a different kind of horror from what her father and brother would craft (and sometimes a black comedy with Jay Baruchel eliciting some laughs), the violence still has some body horror that fits right in with the family portfolio. Fingers are forced inside stab wounds, and blood squirts so often that it becomes confounding no one is dead yet. As a director, there should be interest in what she does next, preferably something with a stronger screenplay and layered characters.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
