It's okay.
Early scenes feel rather perfunctory. The protagonist's inner thoughts are voiced as a monologue providing exposition; training sequences are mildly ham-handed. A stand-in father figure offers kernels of wisdom and substituted affection, and this all transpires within 10-15 minutes to get to the bulk of the narrative.
Once the plot begins, John Schafer's music, while suitable, immediately evokes greater drama and thrills than the fast pace allows us to naturally feel. That pace also means that action scenes and story beats feel forced, and not organic. The extraordinary capabilities of protagonist Kate, honed through training, are impressive - but maybe too much so to be believable. In fact, the course of events feels so ordered - fabricated - that 'Survivor' begins to seem as though it were written like a videogame. For much of the film, moments take place not out of genuine narrative flow, but because it's what the experience demands. As two prime examples, consider the sheer amount of time devoted to shots of Kate running, or climbing, and the direly casual reveal of the plot twist that comes with about one-third left.
A plot twist, mind you, that we saw coming pretty early on, and which pointedly echoes older, very recognizable sci-fi tales or horror flicks.
Still, some stunts and shots look particularly good; fight sequences are actually pretty fun in their choreography. Fine costume design, props, hair, and makeup build the suspension of disbelief we may otherwise have difficulty sustaining for lack of meaningful engagement, and the filming locations are pretty swell. Visual effects are a bit of a mixed bag, yet so long as a character is simply interacting with an aspect realized with computer graphics, and not wholly immersed in an artificial environment, the result is fair in execution.
The cast is mostly adequate in their performances, presumably limited by the directness of John Lyde's screenplay and direction. It's unfortunate that the most capable actor involved (Melanie Stone) has little time on screen in a small supporting role. If nothing else, lead Danielle C. Ryan demonstrates enough potential that I wouldn't mind seeing more of her pictures.
For all its flaws, 'Survivor' is modestly entertaining. The story is rushed, and derivative, but still satisfactory enough to hold our attention. The ending - as ham-handed, if in a different way, as the beginning - nonetheless feels rewarding. The film is put together reasonably well; it works, on its chosen level.
And that's the key. There's no question that this is a few steps below a production backed by a major studio, and even other projects originating in crowdfunding have managed their resources better. Anyone coming across 'Survivor' is sure to already know what to anticipate. But if you're willing to accept the limitations of one picture's construction, just as we accept bad science for the sake of the premise, then the feature becomes something we can just sit back and enjoy without actively attending to it.
It's not the most fulfilling ride in the world, and I can honestly say I hoped to like it more than I do. Still, if you're looking for a sci-fi action thriller and aren't especially discerning in your preferences, 'Survivor' is enjoyable enough if you come across it.
Early scenes feel rather perfunctory. The protagonist's inner thoughts are voiced as a monologue providing exposition; training sequences are mildly ham-handed. A stand-in father figure offers kernels of wisdom and substituted affection, and this all transpires within 10-15 minutes to get to the bulk of the narrative.
Once the plot begins, John Schafer's music, while suitable, immediately evokes greater drama and thrills than the fast pace allows us to naturally feel. That pace also means that action scenes and story beats feel forced, and not organic. The extraordinary capabilities of protagonist Kate, honed through training, are impressive - but maybe too much so to be believable. In fact, the course of events feels so ordered - fabricated - that 'Survivor' begins to seem as though it were written like a videogame. For much of the film, moments take place not out of genuine narrative flow, but because it's what the experience demands. As two prime examples, consider the sheer amount of time devoted to shots of Kate running, or climbing, and the direly casual reveal of the plot twist that comes with about one-third left.
A plot twist, mind you, that we saw coming pretty early on, and which pointedly echoes older, very recognizable sci-fi tales or horror flicks.
Still, some stunts and shots look particularly good; fight sequences are actually pretty fun in their choreography. Fine costume design, props, hair, and makeup build the suspension of disbelief we may otherwise have difficulty sustaining for lack of meaningful engagement, and the filming locations are pretty swell. Visual effects are a bit of a mixed bag, yet so long as a character is simply interacting with an aspect realized with computer graphics, and not wholly immersed in an artificial environment, the result is fair in execution.
The cast is mostly adequate in their performances, presumably limited by the directness of John Lyde's screenplay and direction. It's unfortunate that the most capable actor involved (Melanie Stone) has little time on screen in a small supporting role. If nothing else, lead Danielle C. Ryan demonstrates enough potential that I wouldn't mind seeing more of her pictures.
For all its flaws, 'Survivor' is modestly entertaining. The story is rushed, and derivative, but still satisfactory enough to hold our attention. The ending - as ham-handed, if in a different way, as the beginning - nonetheless feels rewarding. The film is put together reasonably well; it works, on its chosen level.
And that's the key. There's no question that this is a few steps below a production backed by a major studio, and even other projects originating in crowdfunding have managed their resources better. Anyone coming across 'Survivor' is sure to already know what to anticipate. But if you're willing to accept the limitations of one picture's construction, just as we accept bad science for the sake of the premise, then the feature becomes something we can just sit back and enjoy without actively attending to it.
It's not the most fulfilling ride in the world, and I can honestly say I hoped to like it more than I do. Still, if you're looking for a sci-fi action thriller and aren't especially discerning in your preferences, 'Survivor' is enjoyable enough if you come across it.