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CONTAGION OF FEAR is an intriguing thriller that, while fascinating within itself, is a more riveting affair to display on posters/sleeves. The cover hints toward a far greater budget than what is visible within and while this film reels in a fresh sensibility, it is neither better nor worse than most of the sci-fi/horror/thrillers popping up regularly on streaming services. It’s an Australian production and as such, this film is set in Sydney. The initial scenes show worker ‘bees’ going about their daily lives, heading to work in the city, something they would describe as ‘routine’. That sense of normalcy is shattered when, all of a sudden, a deadly rail derailment occurs that explodes a subway and the underground suddenly becomes a living nightmare. As the walking wounded exit, chaos ensues. A total breakdown of social order occurs while emergency services try to treat the injured. It is subsequently realized, that not only has there been the crash, but there has also been an attack through a released quick-moving virus that swiftly kills those infected.
Authorities move swiftly to try and contain the illness before it can spread to the rest of the country, but, is it too late? These early scenes are well staged. The intercutting news reports bring a sense of confusion and bedside manner breaking the tension at the actual hotel where the scenes are taking place.
In an attempt to aid one of the victims on the platform, Yussuf Nassar (Harry Pavlidis), an elder gentleman of Middle Eastern descent, is suspected of releasing the deadly vapour when he remains unaffected. One of the rail workers suspects him of being a terrorist and puts him in a restraining cell.
He calls his daughter Leyla (Ash Ricardo) in hopes of getting her help to free him. Leyla is a cop however she is currently inactive. While the phenomena progresses and the death toll rises, she works to find the true guilty party while proving her father’s innocence.
While it might not be as well executed as OUTBREAK (1995) or CONTAGION (2011), this film is definitely engaging from start to finish. It does seem like an extrapolation from Covid, but the acting is believable, and the writing touches upon the military-grade corruption, the racial enables, terrorism and even the role social influencers have in shaping the reality of the people all while showcasing the peril that stems from widespread fear. It captures both the personal and the global threat of biological explosives following an unprecedented act of terrorism.
It seems this flick is yet another attempt to cash in on the pandemic themed thrillers, but it spectacularly derails, just like the fictional train setting the narrative on a chaotic path. The film begins with a gritty train derailment that plunges Sydney into chaos. Unfortunately, budget restrictions mean no dramatic pulse-pounding sequence for the viewers. Following the train incident, survivors begin collapsing and dying within minutes due to a biological gas attack, setting off a rapidly spreading sickness and causing mayhem throughout the city. It has the potential for plenty of edge-of-your-seat moments but quickly reveals itself to be a crack at bio-thrillers. Instead of genuine horror, the film is filled with an onslaught of thinly veiled political commentary. The film is more focused on mocking “Trump-like” supporters rather than creating a cohesive frightening storyline. Zoe Carides certainly shines the light on the film as she gives a performance that deserves a far better script than she was given to work with. The unfortunate rest of the cast is mostly forgettable and fails to breathe life into their underdeveloped roles.
The film’s characters were evidently not engaging enough providing for a lack of sympathy from viewers. This impact, if ever existed, is nullified. The climax; and if it can even be called that, is a blaring letdown. Just at the moment when one expects a gripping story, the tale provides little to no resolution or a twist, instead promptly filling the viewers with a void. Rather than feeling refreshing, the anti-climatic conclusion at the very least, resembles a sudden end. A fitting cap off to the film that had long been on the verge of depicting lameness. At the end, the movie can only be given an “E” for effort. What could have been an accurate, suspenseful thriller turns out to be a sloppy attempt at propaganda which is not frightening and mildly amusing. The Shining 3.8 is a reflection of the very few positive aspects that this movie has to offer, which in reality is Carides’ performance. It is best to avoid this unless you are looking to be disappointed.
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