Studio: Samuel Goldwyn Films
Director: Jonny Campbell
Writer: David Koepp
Producer: Gavin Polone, David Koepp
Stars: Georgina Campbell, Joe Keery, Sosie Bacon, Vanessa Redgrave, Lesley Manville, Liam Neeson, Richard Brake, Aaron Heffernan, Ellora Torchia
Review Score:
Summary:
An extraterrestrial fungus capable of grotesque mutation brings together a retired military expert and two storage facility employees to stop a deadly outbreak.
Review:
Since I didn’t read the novel “Cold Storage” is based on, I can’t speak to whether the film’s inconsistent flavors carry over from how the source handles the same material, perhaps explaining why some weirdness comes from “why are these necessary?” inclusions. Yet since David Koepp wrote both the book and this adapted screenplay, he presumably knows the storytelling intentions better than anyone, making it more puzzling why the movie feels like key elements are missing or don’t always mesh well with each other.
It shouldn’t take 15 minutes to set up the simple premise. “Cold Storage” uses that much time anyway, starting with large letters screaming “PAY ATTENTION” followed by “This sh*t is real.” That text is then destroyed by streaking space debris in a flippant bit that hints there’ll be at least a light air of self-aware glibness breezing through everything coming next.
The remaining 14 of the first 15 minutes can be summed up in 13 words. Extraterrestrial fungus capable of bursting bodies bursts bodies before being captured and contained.
For 18 years, this extremely dangerous biohazard sample sits securely in a U.S. military compound built over remote Kansas mines. During that time, however, the installation is decommissioned, leaving the place to become a self-storage facility that still has mutant fungus stashed somewhere inside.
It wouldn’t be a horror-comedy if Atchison Self-Storage wasn’t staffed by mildly quirky employees. Sketchy boss Griffin doesn’t stick around long, although he returns later to relieve a unit of its big-screen TV stash with his biker gang, whose members have nicknames like Cuba, Ironhead, and Garbage. Someone else who goes by a nickname is Teacake, an underachiever type who of course has a heart of gold. Teacake takes up his overnight security shift at the facility with new guard Naomi, an attractive single mother whose fast-thinking brain complements Teacake’s fast-moving mouth.
While searching the building for the source of a strange sound that will inevitably lead to a deadly new outbreak, Naomi and Teacake build a bond that squeezes the appeal of actors Georgina Campbell and Joe Keery for juice, because their characters’ scripted interactions are often dry. In one exchange, Naomi tells Teacake, “I don’t drink.” Through an incredulous sneer, Teacake asks, “Not even for one beer?” Naomi sarcastically sneers back, “That would be drinking.” Not every bite of banter has to be a clever banger, but when chemistry needs to be created between two leads, early dialogue ought to work harder than this.
This is especially true when so much of the movie’s midsection follows Naomi and Teacake on leisurely tours of long concrete tunnels, tube ladders, and plain-walled rooms that are bland to look at while waiting for the two of them to finally make it somewhere that matters. Their conversations take curious turns in the interim, such as when Naomi brings up having a daughter at 18 with an unfortunate choice for a father. Teacake asks if Naomi ever had second thoughts or regrets about keeping her kid. Part of his personality is to be, in Naomi’s words, loquacious, but their lines sometimes yank the movie’s mood in different directions without the cast or director appearing to notice the tone’s erratic temperature.
For a movie that’s partly a comedy, “Cold Storage” has a broken compass when it searches for funniness. Two people turn guns on themselves to commit suicide, one being a self-sacrificial moment and the other being a grieving widow who ultimately doesn’t pull the trigger. Naomi’s ex also shows up with a gun after using it to accidentally kill a cat, then wanting to use it on his daughter’s mother after the fungus makes him violent. Griffin gets visibly giddy when he hears gunfire, giving him an excuse to kill Teacake as a supposed “active shooter.” So many guns are pulled in threatening ways, one might mistake “Cold Storage” for a Quentin Tarantino movie, a comparison that wouldn’t come to mind if “Cold Storage” didn’t sprinkle scenes of self-inflicted harm and potential domestic abuse around its questionable sense of humor.
Playing a former military man who gets brought back to help Naomi and Teacake once the infection spirals out of hand, Liam Neeson, famous for having a very particular set of skills, doesn’t use those skills much. Instead, Neeson does the bulk of his work over the phone. Woken from sleep, Neeson takes a call in his bedroom. Next, he moves to his study for a more private conversation. Then he’s on the phone in an airplane. Then he’s on the phone while riding in a car. Being in moving vehicles doesn’t count as action, inspiring viewers to get on their own phones out of boredom, maybe to look up a movie where Liam Neeson does something more exciting than talking.
More than once, “Cold Storage” is likely to make a viewer wonder, “what’s the point of this?” Why does text need to tell us a microbiologist is located in Rome when she takes a phone call, ironically not one involving Liam Neeson? Why does text also tell us Neeson’s character now lives in North Carolina when he’s reintroduced 18 years after the prologue? Is the scene where Vanessa Redgrave suddenly wakes up from a nap in her storage unit reflective of how the audience is also suddenly remembering her existence over a half hour after she was first introduced and then promptly forgotten about?
The film’s best foot forward stands on a straight leg of gnarly effects where animals and humans alike explode in gory blasts of green goo. Combining fungal phobias with B-movie splatter, the horror hits like “The Last of Us” meets a “Garbage Pail Kids” grossout. But the story jumps around its concurrent threads so choppily and gets buried so deep in an identity crisis regarding disparate territories it tries to cover, the few and far between fun feels like a fireworks show without music, a holiday, or a sports team victory to give it entertaining context. “Cold Storage’s” other leg wobbles on the waning strength of actors who’ve been better served by pretty much every other project they’ve been in, as they’re stuck in a mediocre one here.
Review Score: 50
The few and far between fun feels like a fireworks show without music, a holiday, or a sports team victory to give it entertaining context.