![]() But inventing a threatening future is a statement in and of itself. Those stories are already there to be told. Those times and places are, or were once, populated by real people and societies and political structures. Time and place are always vital, but anytime or anywhere with a real, documented history doesn't necessarily need anything more than cursory justification. ![]() The dystopian What Happened to Monday exemplifies the very problem with the subgenre's overpopularity. Netflix, dead set on programming to every conceivable template, has officially checked this one off the list. The lingering sensation when watching a movie with this specific backdrop - and there are many - is. Less a setting and more an elaborate Snapchat filter applied by directors to give their bad sci-fi entries some degree of superficial credibility, Glossy Dystopian Metropolis is far too instantly recognizable for something that has no intrinsic personality. The same can be said for Glossy Dystopian Metropolis, one of those ubiquitously generic veneers used over and over in movies that have a clear-cut genre but no clear-cut ideas. You see the same diners, the same piers the same balconies and the same green-screened city backgrounds behind them. And not just the major landmarks that everyone knows already. See enough movies and you start to remember places you've never been, recognize obscure locations and geographical details ingrained from years of subconscious exposure. Starring: Noomi Rapace, Noomi Rapace, Noomi Rapace, Noomi Rapace, Noomi Rapace, Noomi Rapace, Noomi Rapace, Marwan Kenzari, Clara Read, Christian Rubeck, Willem Dafoe and Glenn Close Screenplay: Kerry Williamson and Max Botkin On inexplicable familiarity, disingenuous dystopias, and the dubious lack of identity in What Happened to Monday ![]()
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