Afterburn is a visually amazing and visceral post-apocalyptic adventure that puts the viewer into a post-apocalyptic world where a devastating solar flare destroyed the world. The opening of the film opens you up to a bleak and desolate terrain and with a sense of fear and wonder, the movie is shot through the prism of survival, perseverance, and revitalizing that cultural memory is vital. The novel is a treasure-hunt of a plot, in which a treasure-hunter attempts to save the Mona Lisa in the mayhem, which is also a strong metaphor of saving the past and future in the world on the edge of disaster.
The movie is exceptional in its mesmeric cinematography and production design that redefines the known European sights in haunting ruins that highlights the frailty of civilization. The song of the score is a perfect combination of orchestral and electronic sounds, which builds the tension during the high-stakes chase scenes, and the intimate moments of self-reflection as well. Bautista and Kurylenko do an excellent job, and their interaction and subtle performances bring the emotional load of the story. The tone that the director manages to strike between the stark reality of the explosive action and the profound contemplation of the movie makes the viewers remain captivated and emotionally involved.
The sound that resonated most was the use of Afterburn in emphasizing the significance of hope, arts, and humanity in the face of madness. It is not only an action film, but also a reflection of what we have decided to hold on to and struggle when all the other is gone. Although it has the occasional clichés, it is rich in themes, powerful visuals, and touching acting, which helps it to rise above escapism. In the end, Afterburn made me feel motivated by the power of human spirit and the indestructible relationships that get us through the hard time.
