The Objective is, in many ways, reminiscent of science-fiction movies of old, particularly the 70s. But whether it was intentional of Daniel Myrick or it simply is a coincidence, I wouldn't know. One thing is for sure, the real magic and strength of older science-fiction classics is not fully conjured here.
This small-budget movie's premise is simple but opens many possibilities. An elite military commando is sent on a mission in the tensed, war-torn present-day Afghanistan. They are led by a mysterious government operative. Their "Objective" is relatively unclear but considering the risks taken, the stakes must be high. As the story unfolds, the mystery remains and the plot thickens but we are still left with a sour taste as the development and tension doesn't pay off much.
There's a mish-mash of elements here that have been a success in other works and movies. Shades of The Andromeda Strain. Shades of Aliens. Shades of Space Odyssey, of Altered States and of old Bermuda Triangle Movies. More than anything, with just a little rework, this could have been a solid X-Files movie. CIA agent Ben Keynes could easily become FBI agents Mulder and Scully, which would have made things much more dynamic.
One of the biggest problem The Objective suffers from is an underdeveloped protagonist and cardboard peripheral characters. One of the secrets to the success of Aliens is that James Cameron, in a much busier storyline, was able to present his space marines as more than mere Alien-hamburgers. In just a few lines, or a few silent frames, we are exposed to colorful personalities and the various interactions between them. In The Objective, not only are the special force members absolutely bland, but they don't even interact in interesting ways with the plot or the main character. When a film-maker introduces characters that are obvious plot tools, I call this weak film-making. But when such characters aren't even effective tools, I call this awful film-making. And that's unfortunately the case here.
As for the actual plot... suffice it to say it is intriguing. A few hints are given here and there in the movie that might help figure out what the shocking resolution means. We are firmly in speculative science-fiction at times, much like old sci-fi. This makes this flawed movie a valid entry for fans of the genre but others would be better off passing.
This is still a solid effort by Daniel Myrick and commendable on an $8,000,0000 budget. But it seems a less ambitious, more tightly knit plot would have been preferable over too large a scope.
This small-budget movie's premise is simple but opens many possibilities. An elite military commando is sent on a mission in the tensed, war-torn present-day Afghanistan. They are led by a mysterious government operative. Their "Objective" is relatively unclear but considering the risks taken, the stakes must be high. As the story unfolds, the mystery remains and the plot thickens but we are still left with a sour taste as the development and tension doesn't pay off much.
There's a mish-mash of elements here that have been a success in other works and movies. Shades of The Andromeda Strain. Shades of Aliens. Shades of Space Odyssey, of Altered States and of old Bermuda Triangle Movies. More than anything, with just a little rework, this could have been a solid X-Files movie. CIA agent Ben Keynes could easily become FBI agents Mulder and Scully, which would have made things much more dynamic.
One of the biggest problem The Objective suffers from is an underdeveloped protagonist and cardboard peripheral characters. One of the secrets to the success of Aliens is that James Cameron, in a much busier storyline, was able to present his space marines as more than mere Alien-hamburgers. In just a few lines, or a few silent frames, we are exposed to colorful personalities and the various interactions between them. In The Objective, not only are the special force members absolutely bland, but they don't even interact in interesting ways with the plot or the main character. When a film-maker introduces characters that are obvious plot tools, I call this weak film-making. But when such characters aren't even effective tools, I call this awful film-making. And that's unfortunately the case here.
As for the actual plot... suffice it to say it is intriguing. A few hints are given here and there in the movie that might help figure out what the shocking resolution means. We are firmly in speculative science-fiction at times, much like old sci-fi. This makes this flawed movie a valid entry for fans of the genre but others would be better off passing.
This is still a solid effort by Daniel Myrick and commendable on an $8,000,0000 budget. But it seems a less ambitious, more tightly knit plot would have been preferable over too large a scope.