In the Lost Lands, 2025.
Directed by Paul W.S. Anderson.
Starring Milla Jovovich, Dave Bautista, Arly Jover, Amara Okereke, Fraser James, Deirdre Mullins, Sebastian Stankiewicz, Tue Lunding, Jacek Dzisiewicz, Ian Hanmore, Pawel Wysocki, and Simon Lööf.
SYNOPSIS:
A sorceress travels to the Lost Lands in search of a magical power that allows a person to transform into a werewolf.
If there isn’t going to be much world or character-building, it does make sense for director Paul W.S. Anderson to stick within his comfort zone, coasting on action star presence and frenetic fight choreography for In the Lost Lands. The filmmaker’s wife/longtime collaborator Milla Jovovich and bruiser Dave Bautista fit that bill, playing a wish-granting witch and a gunslinging bodyguard escorting the former on a mission to siphon the magic from a living werewolf to instill upon Queen Melange (Amara Okereke), who senses that the hold on the reign of terror from those around her is slipping and will inevitably crumble to a revolution. As for those apocalyptic setting, we don’t know much other than the usual basics and that everything now looks like a steampunk wasteland.
However, the fact that much of this is broad and simplistic is disappointing when factoring in that In the Lost Lands is based on a short story from George R.R. Martin; anyone who has ever read or seen an episode of Game of Thrones will sense that this storytelling pales in comparison like a dollar store knockoff. Working with screenwriter Constantin Werner, Paul W.S. Anderson is only halfway there in fleshing this out into a worthwhile narrative.
There are solid ideas and fantastical reveals, tragic loss along the journey, romantic undercurrents and asides, and a whole apocalyptic sanctuary about to be overthrown by its abused residents. Yet, not much here lands with any emotional resonance. Some might want to handwave this away just because Paul W.S. Anderson specializes in chaotically junky, gonzo spectacle often quick cut edited to eye-numbing incoherence, but the beautifully devastating ending to Pompeii (I’m not a hater of his work; far from the contrary) proves otherwise that he is capable of achieving that emotional pull with the right material and script.
To give an example of the rapid-fire pacing here, the first 10 minutes have three separate action sequences. That’s not to say any of them are particularly bad, but there is a persistent feeling that In the Lost Lands is 100 minutes of a video game that doesn’t even exist, cut down from roughly 30 hours. The filmmakers even show off a world map when the heroes set out on their journey. It’s a case where one actively wishes it was instead an open-world video game to actually have some time to let the surroundings breathe and simply learn more about the world.
Instead, Grey Alys (Milla Jovovich) is on the run from a band of religious zealots high up in the hierarchy of these apocalyptic rulers, determined to kill the witch at any cost. Meanwhile, as previously mentioned, she has been propositioned to find and bring back werewolf skin so that the Queen can become a shapeshifter and escape with her secret lover. The lovestruck Jerais (Simon Lööf) has also requested a wish: for Grey Alys to fail. However, the witch has decided that she must grant every wish, no matter how contradictory, which is where the brunt of the narrative intrigue comes here.
Naturally, the only place to find this werewolf is deep outside the sanctuary walls and into hazardous territory, where Boyce (Dave Bautista) comes in as a warrior guide while gradually delivering some clichéd, sad story exposition about his character. As the two seemingly get into an action sequence every few minutes, including right after Boyce visits what appears to be his former, only love, their trust for one another grows. As such, a third wish comes into the already seemingly impossible equation.
Shot through dusty cinematography with additional thick CGI weather effects, Glen MacPherson successfully gives the film the feel of a long, lengthy journey and a painterly, pleasant graphic novel aesthetic. He also seems to know the right angles to watch characters unsheathe their surprise weapons and generally shoots the action competently; a gunfight inside of an airborne cable car where that situation becomes more perilous by the second comes to mind. Beyond the copious amounts of zany, propulsive action, and star charisma, Paul W.S. Anderson’s In the Lost Lands feels, well, a little lost.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association, Critics Choice Association, and Online Film Critics Society. He is also the Flickering Myth Reviews Editor. Check here for new reviews and follow my BlueSky or Letterboxd
