Transhuman begs for many clarifying questions to be asked. Dialogues such as, “Where is she?” or “What do you want?” trigger typical questions best asked when one is impatiently awaiting arrival after a long journey in a car. A child-like question, “Are we there yet?” captures the essence of these questions. These questions remain unanswered while Transhuman goes deeper into the forest, which allegedly has a map leading to nowhere. As you explore further into the motion picture, you will slowly begin to ask yourself, “What is happening here?”, “What am I watching?” and “WTF?” will eventually flow into your head too.
In regard to the narrative, it seems like the most frequent question you will ask will evolve around the movie itself “What is actually happening in this movie?” I have had the misfortune of viewing Transhuman out of a mere professional requirement. The whole time I kept my finger pressed on the scrub bar. With that in mind, I shall do my utmost to sketch the bewildering plot. How else do you expect me to do so when your central character is none other than an investigative journalist? To top it all off, Alex (played by Natasha James) happens to be staring into a rather bizarre cult that focuses on genetically initialized humans, and where her companion, Cassie, just happened to have disappeared without a trace.
From the Middle East, through Europe, and to a dull basement in London, we follow Alex’s journey. There seems to be some sort of conspiracy which revolves around terrorism and those bloody Nazis so we know at least that Evil is involved yikes!. I think that’s the sum of it but even these facts are somewhat illusory too, along the lines of this motif which has been intoned a couple of times throughout the plot ‘It’s not what you know, it’s what you believe.
But with Transhuman, it is difficult to know what to believe as the story is so opaque and its characters are so remote. The film opens with Cassie and her photographer investigating the skull of a corrugated desert and taking their quest into some strange catacombs. The poor photographer gets mauled off-screen is some sort of monster attacks while Cassie escapes from the situation., which Cassie does. She doesn’t seem to be disturbed at all.
I don’t know how her boss in Barcelona reacts to that, as when Cassie talks with the editor about the tragedy, they conduct the discussion in Spanish that is not sub-titled (I possess a tiny bit of Spanish and can tell that during the talk nobody asked for ice-cream, beer or the bill). Steven Berkoff shows up but phones it in – literally because he comes in through Cassie’s Skype. He returns in the weathered flesh later, but by then there’s hardly any scenery left for him to chew on. Marc Bannerman (the former Eastenders) has squandered it all, chewing it up in an attempt to infuse some energy with his resort to casual cockney man banter. Pwopah!
Somewhere at the end, at least some monsters do manage to appear, and for that, I am grateful. Minged-up wretches that have been altered by Nazi scientists and, through some means, turned evil. I have no experience in spending the greater part of a century, amassing an apparently invincible, genetically modified beast army, but this lot, lumbering and pathetic, do not look like they would last a second against a well-placed smart bomb.
Nothing makes sense in Transhuman, which is a shame given that the movie at least has concepts, and is sometimes shot with a keen eye. But, like its cumbersome and biologically refitted mutants, it is a clunky hotchpotch that leaves us with the question What were they trying to do?
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