Cast: Amir Khalighi, Matt O’Leary, William Russ
Director: Rick Rosenthal
Country: USA
Genre: Thriller
Editor’s Notes: The following review is part of our coverage of the BFI London Film Festival. For more information on the festival visit http://www.bfi.org.uk/lff and follow the event on Twitter at @bfi.
Helmed by Rick Rosenthal, Drones had its world premiere at the BFI London Film Festival 2013, categorized under ‘Thrill’, although the film wouldn’t look out of place under ‘Debate’ due to its controversial subject matter and the ethical implications that the film entails. Drones is a modest but quietly ambitious feat from Rosenthal, who manages to weave an implicit morality tale from a very sincere and simple premise. Despite containing only two primary characters, Rosenthal demonstrates that a decent thriller doesn’t have to depend on colossal events in a film’s timeline or a substantial cast to make for an entertaining and informative watch.
Rosenthal’s conception of tension pervades the script of Drones, which is shot in almost real time to enhance this quality. The film, although almost solely dialogue-based, depends not on what is said during the film, but what is not said; after all, how sure can the characters (and the audience) be of the legitimacy of the facts basing the orders?
Set in a remote-control warfare bunker, Jack (Matt O’Leary) is an experienced drone pilot in the process of training new recruit, Sue (Eloise Mumford). Their day is spent awkwardly with one another, making small talk and phatic conversation with little else. That is until they set their sights on a possible terrorist suspect, unarmed and at home with his family. A power struggle erupts between the two as they vacillate between conclusions, with Sue questioning what proof there is of the man’s identity and the lack of justification for killing an entire family, including children. Both pilots begin to get cold feet, directly violating orders from their general and ultimately, they face the difficult choice of carrying out their unpleasant orders or facing the consequences of their gross insubordination.
Rosenthal’s conception of tension pervades the script of Drones, which is shot in almost real time to enhance this quality. The film, although almost solely dialogue-based, depends not on what is said during the film, but what is not said; after all, how sure can the characters (and the audience) be of the legitimacy of the facts basing the orders? Rosenthal brings to light this controversial and wholly unfair ethical issue, raising certain questions about the ‘war on terror’ and whose war it really is. Furthermore, Rosenthal manages to maintain an engaging story in Drones; the characters never once become stale and the story only becomes increasingly compelling towards its conclusion. Inevitably, there can only be one outcome but the journey that gets us there is certainly a riveting one.
The screenwriter, Matt Witten, has successfully fashioned two very different but equally relatable characters in Drones; both characters are richly developed, embodying their own sense of self and identity, possibly thanks to the two lead actor’s unique interpretation of the characters. Jack is duty-bound, accustomed to blindly accepting orders without question. Sue is also duty-bound, but hardly out of choice; her father is a general within the military and her status as a new recruit has left her not without her strong moral convictions. This conflict of conscience with the two characters develops slowly, along with the declining situation and is another point of tension within the film that is as equally gripping as the narrative.
The screenwriter, Matt Witten, has successfully fashioned two very different but equally relatable characters in Drones; both characters are richly developed, embodying their own sense of self and identity, possibly thanks to the two lead actor’s unique interpretation of the characters.
The narrative does leave some things to be desired; at times, it is painfully predictable. Witten has pulled out a substantial number of clichés in order to fill out the story, particularly an emotional ploy by Sue’s father. The script certainly lacks originality despite the inherent drama behind the debate, thanks to a small number of lackluster scriptural decisions that award the film nothing apart from slowing it down.
Drones is by no means the best film of its subject, but it does the job of resonating a clear moral message nicely, as well as making for a compelling and thought-provoking thriller with nuances of a well-developed drama. Its success is rooted firmly in its characters however, who, in their limited roles, adequately portray the conflict that reflects the likely moral outlook of the majority of the audience.
[notification type=”star”]63/100 ~ OKAY. Drones is by no means the best film of its subject, but it does the job of resonating a clear moral message nicely, as well as making for a compelling and thought-provoking thriller with nuances of a well-developed drama. [/notification]
