H ere is an example of the limited-horizons apocalypse movie: with a necessarily tight perspective on the end of days, doubtless for budgetary reasons, it’s as if The Day of the Triffids was seen entirely from a polytunnel, or 28 Days Later from inside an isolation ward. Here, director Luke Sparke angles downwards in his intro from a massacre in an office high-rise overlooking a devastated skyline, towards the ground zero of the action: the bottom of a crater where stricken civilian Mark (Jamie Costa) is pinned under a boulder.

After freeing himself just before a rockfall that seals him into a tunnel, Mark encounters Kate (Emalia) also scrabbling around in the dark. Displaying a striking level of panic and a nasty leg wound, she insists – at gunpoint – that he take the rear as they look

See Full Page