It’s the end of the world and they know it in “Radioflash,” a neither-fish-nor-fowl tale of survival after a massive, seemingly permanent power failure. At first this seems a fairly straightforward…
It’s the end of the world and they know it in “Radioflash,” a neither-fish-nor-fowl tale of survival after a massive, seemingly permanent power failure. At first this seems a fairly straightforward “what if” scenario of one family’s coping with the rapid breakdown of society in an unprecedented emergency.
Meanwhile back in the real world, everyday life is pretty ordinary, beyond the fact that the teen’s mother recently died of from cancer. Reese and dad Chris are having dinner when the power goes out, shutting down everything, from electricity to phone service to the internet. It takes a while to realize that this is no temporary glitch but the dread electromagnetic pulse, or “radioflash,” event that some doomsayers have long warned about.
Even departing the next morning, however, they find mass chaos already in progress. Driving out of the city en route to Frank’s self-sustaining, well-hidden mountain hideout, they face a number of unexpected delays and increasingly grave threats. Thus what starts out feeling like a fairly serious treatment of a doomsday scenario grows less and less so, the director seemingly unaware of how awkwardly his episodic elements thread together into a single narrative. It all grows more interesting when you know that McPherson is a painter whose classical oils often depict Jesus Christ and other spiritual figures, and that some of his prior screen work suggests a more-than-average interest in “end times” speculation.
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