It's a laid-back apocalypse we find in "One Hundred Mornings."

It’s a laid-back apocalypse we find in “One Hundred Mornings.” Though never intended to match “The Road” for gruesome veracity or Michael Haneke’s “Time of the Wolf” for full-on mysterious dread, this Irish production doesn’t cut much of its own niche in an overworked genre. A tale of two couples, cabin-bound as the world around them disintegrates amid some unknown calamity, helmer-writer Conor Horgan’s drama does make the perhaps inadvertent joke that even at the end of the world, people will still be sleeping with the wrong people — but it’s no substitute for Armageddon, and a bit understated given the premise. “Mornings” will awake mostly at festivals.

Although visually stylish and deliberate, the pic possesses a sense of seemingly unwarranted resignation: No one seems to know what’s gone wrong, but no one in the Irish countryside is doing much about it either.

Two couples — Jonathan (Ciaran McMenamin) and Hannah (Alex Reid), and Mark (Rory Keenan) and Katie (Kelly Campbell) — have ended up together in a cabin where cars scream by at night and the occasional looter makes a play for their considerable supply of food. Allied, although loosely, with their older, shotgun-wielding hippie neighbor, Tim (Robert O’Mahoney), they’re doing OK till Sgt. Lavelle (Paul Ronan) comes and requisitions some food, and then gun-toting thieves take the rest.

But the real crisis – and here the movie strains credulity — is that Jonathan is having sex with Katie, and the little community is threatened with internal combustion. It’s not the situation that’s farfetched, but rather its placement in an end-of-the-world drama.

There’s little to really love in “One Hundred Mornings.” Jonathan (McMenamin seems intent on looking dark and dangerous) would be even more unpleasant if girlfriend Hannah weren’t such a whiny pill. Katie and Mark are OK, but lacking in defined personality. Tim’s the most rounded personality in the bunch, and he has little inclination to help anyone as long as there’s strength in his legs and a shell in each barrel. But there’s a lot more smoke than firepower here.

Tech credits are fine, particularly d.p. Suzie Lavelle’s shooting.

One Hundred Mornings


A Catalyst Project presentation in association with Blinder Films. Produced by Katie Holly. Co-producer, Louise Curran. Directed, written by Conor Horgan.


Camera (color), Suzie Lavelle; editor, Frank Reid; music, Chris White; production designer, Lucy Van Lonkhuyzen; costume designer, Debbie Millington; sound, Hugh Fox; rerecording mixer, John Fitzgerald; first assistant director, John Wallace; casting, Nick McGinley. Reviewed at Slamdance Film Festival, Jan. 28, 2010. Running time: 83 MIN.


Ciaran McMenamin, Alex Reid, Rory Keenan, Kelly Campbell, Robert O'Mahoney, Paul Ronan, Tony McKenna.
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