I must admit, I’m a sucker for the post-apocalyptic setting. Something about bleak dystopian thrillers where mankind is all but wiped out and the few remaining use their wits, resourcefulness and the power of the human spirit to survive in the face of bone-chilling evil, is my idea of a good time.

So keep that in mind when I say I enjoyed Bird Box, a Netflix post-apocalyptic psychological horror based on the Josh Malerman novel from 2014, and starring the always engaging Sandra Bullock (Malorie Hayes) in the lead role. The film isn’t flawless, but the excellent performances and fairly suspenseful first act, interesting social commentary, alongside all the competently executed tropes make it a decent installment in the genre.

In terms of storytelling, Bird Box follows the blueprint from countless other post-apocalyptic fiction. There is the first chapter, where we learn about a dangerous new malaise that plagues mankind to the point where it results in panic and chaos, as well as some amusingly gratuitous blood and guts violence. Usually, it’s a zombie virus, but Bird Box gets creative. Here, it is nearly invisible monsters of some sort that, once seen by their victims, convince them to violently commit suicide. The catch is, and our heroes soon catch on to this, that the creatures are only perfectly seen by birds and the mentally ill. 

Bird Box is an allegory of a reality for many parents on this planet, with the rest too blind to see it

Then, as in most films from this genre, there is the consolidation phase, where some survivors band together in a safe haven to regroup. Usually, these sequences are interesting in terms of character development, where the survivors share their back stories, and form unlikely bonds and even unlikely romances. Bird Box doesn’t disappoint here either, thanks not only to the excellent Sandra Bullock but other talent on display such as the awesome John Malkovich as the cynical Douglas, Trevante Rhodes as the archetypal hero Tom, Danielle Macdonald as Olympia, the woman who is usually too stupid to survive, and others. Of course what survival film would be complete without a supply-run scene, where one character customarily bites the dust in gruesome fashion? Bird Box obliges here as well, with an interesting scene where our heroes have to black out all of the car’s windows and drive like they walk — blind.

Bird Box loses some energy in the second act as the survivors drop like flies, and the final act where the suspense isn’t nearly as thick as it was initially. At these later stages, Bird Box begins to feel a bit bird-brained as it runs low on ideas. I also felt that the film gave away too much about the monsters too early in the narrative, losing its sense of discovery. A better and recent film from the genre was A Quiet Place, which felt more creative, heartfelt, and suspenseful throughout.

In terms of storytelling, Bird Box follows the blueprint from countless other post-apocalyptic fiction. There is the first chapter, where we learn about a dangerous new malaise that plagues mankind to the point where it results in panic and chaos, as well as some amusingly gratuitous blood and guts violence.

That being said, the last portion of Bird Box has its moments, thanks to the strong chemistry between Sandra Bullock’s character and her two children, Boy (Julian Edwards) and Girl (Vivien Lyra Blair). Most likely because I’ve turned into a giant sap since I embraced fatherhood, but Malorie Hayes’ will to do anything for the survival of her kids certainly struck a chord. Moreover, watching a parent take her young ones on a perilous journey for a better life to escape unimaginable horrors, in a clear allegory by director Susanne Bier, had me draw parallels with the plight of immigrant parents who do the same in the real world. It could be said that Bird Box is a reality for many parents on this planet, and the rest of us are too blind to see it.

Rated R for violence, bloody images, language and brief sexuality

Published in Dawn, ICON, January 13th, 2019