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Brett Bentman and his rogue's gallery of talent have returned with another entry into his evolving Texas pantheon of morality tales with mythological killers and flawed heroes. His latest offering Meteor, subverts the disaster genre by presenting an emotionally resonant father-daughter drama set amidst an apocalyptic backdrop of dystopian oppression and brutality. Featuring standout central and supporting performances, a uniquely crafted vision of the future, and a sobering examination of fate and faith, this is one of Bentman's best films.
Ten years after a meteor impacts earth, those who remain struggle to survive. A reclusive widower finds a young woman who is on the run from dangerous mercenaries and is forced to risk his life to protect her. Beyond the performances, Bentman's script is perhaps the most potent ingredient. Considering the modest budget and small cast/crew, how Bentman is able to create a living, breathing wasteland is admirable. There are concepts that are alluded to throughout that are never fully explained, leaving an air of mystery and dread throughout that only enhances the severity of the protagonist's plight. This dangerous ambiguity is present throughout, dove tailing a poetic introduction with a violent finale to showcase the absolute uncertainty of a dying world.
Robert Keith gives one his finest performances as Liam, a widowed rancher whose act of kindness opens the door to the wolves. His chemistry with Olivia's Nash's Hanna is organic, simulating a father and daughter dynamic that feels at home in a world come undone. The first 15 minutes completely belong to Keith; a silent void of loss and regret that consumes everything around his Liam and the result is a contemplative, spiritual sojourn. On the opposite end is Thom Hallum's menacing Zephyr, leader of a mercenary trio that are pursuing Hanna for nefarious reasons. While a smaller role than Hallum usually portrays, this may in fact be one of his best, as he fills each of his scenes with a sense of kinetic dread. Hallum's Zephyr is a professional, but what's worse is that he enjoys his vicious trade.
All of these elements combine to create a shadow of what was a familiar place, filled with ghosts of the past and demons of the present. The idea that the powerful and wealthy would retreat to island paradises while the rest of humanity suffers mirrors our current reality in many unsettling ways. This concept is given life by Anthony Gutierrez’s attentive cinematography. This is a small picture whose focus is on the characters and Gutierrez captures the human drama without flash or bravado, allowing the narrative to be stripped down to the most basic elements. Jeff Hamm's patient editing is the final piece, presenting each scene with a desperate tempo that constantly threatens to crescendo into a vortex of violence.
Coming soon, Meteor initially appears as a unique experiment for Bentman and his crew. However, if one looks back to the beginning of his filmography, Apocalypse Road could be a prototype or companion piece, as both stories revolve around a pair of survivors who are being pursued by killers, but it is not violence that is the connective tissue, it is the human experience that is of import and it is that central theme that is present in every one of Bentman's films. Hopeless, end of the world stories are a dime a dozen. Even the most exploited genres can still surprise when in the hands of passionate artists who not only have a love for their craft, but also understand the nuances of the genre. Meteor is a shining example.
--Kyle Jonathan