According to a quick search on Google.com, an article on Wikipedia.org indicates that the first work to breach the whole topic of an alien invasion of Earth was author Robert Potter’s 1892 story “The Germ Growers.” In it, Potter creates the whole ‘they’ve taken over our bodies’ premise by having these dastardly invaders take the shape of ordinary human beings and then set about the work of crafting a deadly virus capable of wiping out the rest of us.
How insidious, am I right?
Well, Wikipedia.org further states that Growers was apparently no publishing sensation; and, thus, Potter’s ideas have largely vanished into the trash heap of literary history. And yet … a short six years later, this prolific creator of Science Fiction yarns going under the name of H.G. Wells delivered his groundbreaking The War Of The Worlds to the consumer marketplace. A sensation with audiences eventually around the world, this War earned the spot as being recognized as the first authentic alien invasion story. One needn’t be a rocket scientist to know that Wells’ tale continues to resonate with storytellers and viewers alike as it even today continues to serve as a source document for various remakes, retreads, and spinoffs.
Theatrically, history remains a bit murky: this isn’t to say that aliens haven’t made appearances in films but rather arguments could be made that their earliest visits weren’t exactly the business of global domination. Largely, 1951’s The Thing From Another World gets cited by many as being one of the earliest as exploiting the invasion trope, but I – as SciFiHistory.Net’s resident historiographer – have always pushed back on that statement. The Thing – as played by screen legend James Arness – wasn’t here essentially to invade; in fact, he was discovered by researchers, thawed out of ice, and then went about the business of terrorizing this small band of Arctic explorers. So, at this point, I’m still apt to give 1953’s The War Of The Worlds adaptation of the Wells’ book the lion’s share of the credit for inspiring the countless tales of Earth’s impending jeopardy we’ve been subjected to in the decades that followed.
Thankfully, Hollywood and beyond have realized that there’s big business in such attacks; and who can blame those merry mythmakers for capitalizing on what sells? The latest in a line of intergalactic threats has taken shape under the name Alien Country (2024). Spawned from the fertile imaginations of Renny Grames (who also stars) and Boston McConnaughey (who also directs), the motion picture stars Corbin Allred, Rachele Brooke Smith, K.C. Clyde, Renny Grames, and Jasen Wade in prominent roles. Though the flick may not bring anything new to the trend, it’s made with a lean efficiency, boasting modest special effects work and a crackingly funny script that just might help it build a solid foundation in going where other projects have gone before.
In fact, this one might have ‘the right stuff’ to rise to cult status if the years ahead are kind.
How insidious, am I right?
Well, Wikipedia.org further states that Growers was apparently no publishing sensation; and, thus, Potter’s ideas have largely vanished into the trash heap of literary history. And yet … a short six years later, this prolific creator of Science Fiction yarns going under the name of H.G. Wells delivered his groundbreaking The War Of The Worlds to the consumer marketplace. A sensation with audiences eventually around the world, this War earned the spot as being recognized as the first authentic alien invasion story. One needn’t be a rocket scientist to know that Wells’ tale continues to resonate with storytellers and viewers alike as it even today continues to serve as a source document for various remakes, retreads, and spinoffs.
Theatrically, history remains a bit murky: this isn’t to say that aliens haven’t made appearances in films but rather arguments could be made that their earliest visits weren’t exactly the business of global domination. Largely, 1951’s The Thing From Another World gets cited by many as being one of the earliest as exploiting the invasion trope, but I – as SciFiHistory.Net’s resident historiographer – have always pushed back on that statement. The Thing – as played by screen legend James Arness – wasn’t here essentially to invade; in fact, he was discovered by researchers, thawed out of ice, and then went about the business of terrorizing this small band of Arctic explorers. So, at this point, I’m still apt to give 1953’s The War Of The Worlds adaptation of the Wells’ book the lion’s share of the credit for inspiring the countless tales of Earth’s impending jeopardy we’ve been subjected to in the decades that followed.
Thankfully, Hollywood and beyond have realized that there’s big business in such attacks; and who can blame those merry mythmakers for capitalizing on what sells? The latest in a line of intergalactic threats has taken shape under the name Alien Country (2024). Spawned from the fertile imaginations of Renny Grames (who also stars) and Boston McConnaughey (who also directs), the motion picture stars Corbin Allred, Rachele Brooke Smith, K.C. Clyde, Renny Grames, and Jasen Wade in prominent roles. Though the flick may not bring anything new to the trend, it’s made with a lean efficiency, boasting modest special effects work and a crackingly funny script that just might help it build a solid foundation in going where other projects have gone before.
In fact, this one might have ‘the right stuff’ to rise to cult status if the years ahead are kind.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip on down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Reeling from the news of an unexpected pregnancy, Jimmy and Everly unknowingly release an alien invasion in their small town and learn to work together in order to save each other, their town and evidently, the entire galaxy.”
Folks, I’ve written before about how the explosion of content – now that every man, woman, and child has a smartphone and APPs at their fingertips to produce their own – has effected society at large; and I think it’s time for an expansion on that idea.
Back in the days when stories were shot exclusively on film, there were reasonable financial hurdles which had to be overcome in order to deliver a completed opus to the marketplace. Clearly, not every screenwriter had direct access to the capital to put his or her dream in motion, and – it should go without saying – not every producer or production company had the funds to turn every completed script into the next big thing. Sacrifices had to be made. Corners had to be cut. There was an incredible amount of give-and-take. The end results varied widely, and this process had the effect of creating A-Pictures and B-pictures within the industry at large. A-Pictures got the red-carpet treatment; and B-Pictures were afforded the scraps. Everyone made do as best as they could – audiences included – and this business format stayed the norm for filmdom’s first generation or two or (maybe) three, depending upon one’s historical perspective.
The introduction of digital filmmaking was the straw that inevitably broke that mold, as this new technology truly widened what was achievable behind-the-scenes. No longer were creators dependent upon those moneymen; and – so long as they were able to outfit themselves with everything needed – independent film production entered a new era. While nearly a century ago a grand wizard like Orson Welles had to negotiate for total creative autonomy over his Citizen Kane (1941), this new breed of filmmakers could simply thumb their noses at the establishment and make their very own catalog of entertainment. Mind you: they were still to a degree beholden to theatre chains and/or distribution outlets to get such fare into the cineplexes, but that would change, too, in the days ahead when platforms like YouTube.com, Rumble.com, Twitch.com, Dailymotion.com, and more broke down all barriers between makers and the general public.
The reason I bring this up today is that in preparing to offer my two cents on Alien Country I realize that we might be on the cusp of reconceptualizing A- and B-Pictures yet again.
From the film’s IMDB.com page citation:
“Reeling from the news of an unexpected pregnancy, Jimmy and Everly unknowingly release an alien invasion in their small town and learn to work together in order to save each other, their town and evidently, the entire galaxy.”
Folks, I’ve written before about how the explosion of content – now that every man, woman, and child has a smartphone and APPs at their fingertips to produce their own – has effected society at large; and I think it’s time for an expansion on that idea.
Back in the days when stories were shot exclusively on film, there were reasonable financial hurdles which had to be overcome in order to deliver a completed opus to the marketplace. Clearly, not every screenwriter had direct access to the capital to put his or her dream in motion, and – it should go without saying – not every producer or production company had the funds to turn every completed script into the next big thing. Sacrifices had to be made. Corners had to be cut. There was an incredible amount of give-and-take. The end results varied widely, and this process had the effect of creating A-Pictures and B-pictures within the industry at large. A-Pictures got the red-carpet treatment; and B-Pictures were afforded the scraps. Everyone made do as best as they could – audiences included – and this business format stayed the norm for filmdom’s first generation or two or (maybe) three, depending upon one’s historical perspective.
The introduction of digital filmmaking was the straw that inevitably broke that mold, as this new technology truly widened what was achievable behind-the-scenes. No longer were creators dependent upon those moneymen; and – so long as they were able to outfit themselves with everything needed – independent film production entered a new era. While nearly a century ago a grand wizard like Orson Welles had to negotiate for total creative autonomy over his Citizen Kane (1941), this new breed of filmmakers could simply thumb their noses at the establishment and make their very own catalog of entertainment. Mind you: they were still to a degree beholden to theatre chains and/or distribution outlets to get such fare into the cineplexes, but that would change, too, in the days ahead when platforms like YouTube.com, Rumble.com, Twitch.com, Dailymotion.com, and more broke down all barriers between makers and the general public.
The reason I bring this up today is that in preparing to offer my two cents on Alien Country I realize that we might be on the cusp of reconceptualizing A- and B-Pictures yet again.
Here’s the straight skinny I’m dancing around: Alien Country is, clearly, an independent production. It has all the markings of something made well outside the studio system – a huge plus, so far as this humble critic is concerned – which allows the cast and crew to produce a magic act that’s entirely all of their own. Still, because the completed film has enough of the substantive pomp and circumstance available to filmmakers in the modern era, Country has just about everything it needs to compete shoulder-to-shoulder with a big budget production. Do you see my quandary? It both is and isn’t an A-Picture. It both is and isn’t a B-Picture. While that may not mean much to the readership at large, I think it speaks volumes about what’s possible for storytellers in the sphere of ideas today … and that fact alone causes me to encourage those of you who want to get into the business to check this out.
Jimmy (played by Clyde) and Everly (Renny Grames) are the Great American (small town) Couple. Their relationship is at an impasse because they’ve not quite passed over that threshold into being an authentic pair because – let’s face facts – no one wants to settle down and become their parents. In fact, Jimmy’s father James (Jasen Wade) quite literally vanished from the face of the Earth in his youth, shackling him psychologically with a load of doubt as to whether or not he’s up to the task of maturing into adulthood. They both still have their dreams, and yet can those dreams be reconciled with this new chapter in the book of love?
Oh, yeah, and they’ve gone and got Everly pregnant.
While the little town of Blue River might not be bigger than a small dot on the map, it has a reputation, one replete with UFO sightings, abductions, and other supernatural shenanigans. Why, even the old uranium mine seems to gone dried up, adding another layer to the local mysteries. Long-time residents have long believed that there’s more to the story, but could all of these elements finally come together, answering that immortal question about whether or not we’re alone in the universe while showing our lovely couple at the same time that they’re destined to be together?
That’s the narrative stuff that propels Alien Country. It’s a strange amalgamation of small-town life and big city dreams where nothing is quite what it seems despite the fact that it’s been right in front of your eyes your whole life. Grames and McConnaughey’s script is smart – perhaps too smart for a B-Picture but assembled not quite good enough to make it an A – and manages to great fantastic mileage out of one of the better genre ensemble casts I’ve seen in a short while. Clyde’s comic cynicism continues to fuel one great scene after another with Allred, Smith, Grames, and Trey Warner (as ‘Officer Kirk’) proving that they’re not only capable of holding ground opposite but also willing to chew their own scenery right alongside. This is likely one of those moments of serendipity – when cast and crew were clearly all ‘in on it’ or ‘on the same page’ and I think the finished product shows. With the same filmic DNA that’s been afforded other genre entries like Bill & Ted’s Excellent Adventure (1989), Tremors (1990), Fargo (1996), and Grabbers (2012), Alien Country succeeds precisely because it knows and embraces that Biblical adage about the meek inheriting the Earth and it isn’t afraid from celebrating knuckleheads who, quite simply, want to save the planet … and that’s all.
Jimmy (played by Clyde) and Everly (Renny Grames) are the Great American (small town) Couple. Their relationship is at an impasse because they’ve not quite passed over that threshold into being an authentic pair because – let’s face facts – no one wants to settle down and become their parents. In fact, Jimmy’s father James (Jasen Wade) quite literally vanished from the face of the Earth in his youth, shackling him psychologically with a load of doubt as to whether or not he’s up to the task of maturing into adulthood. They both still have their dreams, and yet can those dreams be reconciled with this new chapter in the book of love?
Oh, yeah, and they’ve gone and got Everly pregnant.
While the little town of Blue River might not be bigger than a small dot on the map, it has a reputation, one replete with UFO sightings, abductions, and other supernatural shenanigans. Why, even the old uranium mine seems to gone dried up, adding another layer to the local mysteries. Long-time residents have long believed that there’s more to the story, but could all of these elements finally come together, answering that immortal question about whether or not we’re alone in the universe while showing our lovely couple at the same time that they’re destined to be together?
That’s the narrative stuff that propels Alien Country. It’s a strange amalgamation of small-town life and big city dreams where nothing is quite what it seems despite the fact that it’s been right in front of your eyes your whole life. Grames and McConnaughey’s script is smart – perhaps too smart for a B-Picture but assembled not quite good enough to make it an A – and manages to great fantastic mileage out of one of the better genre ensemble casts I’ve seen in a short while. Clyde’s comic cynicism continues to fuel one great scene after another with Allred, Smith, Grames, and Trey Warner (as ‘Officer Kirk’) proving that they’re not only capable of holding ground opposite but also willing to chew their own scenery right alongside. This is likely one of those moments of serendipity – when cast and crew were clearly all ‘in on it’ or ‘on the same page’ and I think the finished product shows. With the same filmic DNA that’s been afforded other genre entries like Bill & Ted’s Excellent Adventure (1989), Tremors (1990), Fargo (1996), and Grabbers (2012), Alien Country succeeds precisely because it knows and embraces that Biblical adage about the meek inheriting the Earth and it isn’t afraid from celebrating knuckleheads who, quite simply, want to save the planet … and that’s all.
My biggest problem with it is that McConnaughey – a first-time director – kinda/sorta robs the picture of some small(ish) moments. As I said, this is an ensemble piece – there are very few moments spent either in isolation or with a single character – and the framing sensibilities sometimes incorporate more tilts, pans, wipes, etc. than were necessary. When you have three or four people in a scene, there isn’t a need to constantly move the camera so that the focus is on the person speaking at the time – a popular YouTube.com phenomenon that drives me crazy. Instead, pull back a little. Show all characters in the frame. Let them breathe and speak and react in the same frame. It looks better – definitely less frenetic – and it changes the visual flow in such a way that audiences listen more instead of watch. Others might disagree, but the constant push for movement, movement, and more movement of the possible angles becomes a distraction instead of organically pulling me in, and that’s a miss.
The other issue?
Well, for some reason, everyone thought piling on was the way to go with the ending. If it wasn’t enough for Blue River to miraculously become the center of the universe for an impending alien invasion, then now – in a brief filmed coda – it’s also the epicenter for a developing zombie invasion. Erm … folks? You weren’t producing a pure parody here. This was a family-friendly comedy that resonated just fine on its own merits not unlike 1985’s Back To The Future. Imagine if when that film ended instead of going forward in time Doc and Marty suddenly found that they could enter another dimension? While some might find that nifty, I’ll just ask, “What’s the point?” Why derail a tonally perfect wrap-up by suggesting none of it was serious?
Know when to end and then leave the stage. There’s seriously no greater wisdom in all of entertainment.
Now … no. Country is no The War Of The Worlds (1953). It doesn’t have the fantastic popcorn spectacle of Independence Day (1996). It doesn’t have the politically subversive core of Invasion Of The Body Snatchers (1956), nor does it have the big budget sizzle of Battle Los Angeles (2011). It’s finale felt a bit rushed – all of a sudden, the townies were no longer concerned about the ill effects of flat-out killing these alien creatures when they spent the bulk of the movie trying to avoid it (for reason the plot explains) – and I’m not sure they stuck the landing as well as they could’ve. It could’ve gone to a bit greater length to explain its wormholes, its creatures, and the stakes at play in a few spots. But it has as much heart to stand alongside those bigger films; and – for that – I’m thankful to have seen it.
Folks, I don't say that about many pictures. That's a rarity.
The other issue?
Well, for some reason, everyone thought piling on was the way to go with the ending. If it wasn’t enough for Blue River to miraculously become the center of the universe for an impending alien invasion, then now – in a brief filmed coda – it’s also the epicenter for a developing zombie invasion. Erm … folks? You weren’t producing a pure parody here. This was a family-friendly comedy that resonated just fine on its own merits not unlike 1985’s Back To The Future. Imagine if when that film ended instead of going forward in time Doc and Marty suddenly found that they could enter another dimension? While some might find that nifty, I’ll just ask, “What’s the point?” Why derail a tonally perfect wrap-up by suggesting none of it was serious?
Know when to end and then leave the stage. There’s seriously no greater wisdom in all of entertainment.
Now … no. Country is no The War Of The Worlds (1953). It doesn’t have the fantastic popcorn spectacle of Independence Day (1996). It doesn’t have the politically subversive core of Invasion Of The Body Snatchers (1956), nor does it have the big budget sizzle of Battle Los Angeles (2011). It’s finale felt a bit rushed – all of a sudden, the townies were no longer concerned about the ill effects of flat-out killing these alien creatures when they spent the bulk of the movie trying to avoid it (for reason the plot explains) – and I’m not sure they stuck the landing as well as they could’ve. It could’ve gone to a bit greater length to explain its wormholes, its creatures, and the stakes at play in a few spots. But it has as much heart to stand alongside those bigger films; and – for that – I’m thankful to have seen it.
Folks, I don't say that about many pictures. That's a rarity.
Alien Country (2024) was produced by Story Mode I. Though this may be inaccurate, Reelgood.com indicates that the film is presently available for streaming only on Amazon Prime Video. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds pretty exceptional from start-to-finish: there are some lower quality special effects work in a few spots regarding the creatures, but it’s all still accomplished in the proper mise en scéne of the flick so they’re acceptable. Lastly, if you’re looking for special features? Alas, I viewed this one entirely via streaming, so there were no special features under consideration.
Recommended.
Though some might disagree, I thought Alien Country (2024) was about as much fun as was possible in the modern era of independent filmmaking. While its effects work varies between good and acceptable, the story retains a fabulous comic tone all along the way that makes an inferior scene or two entirely palatable, much in the same way 1984’s Ghostbusters kinda/sorta gets mocked for its occasional cartoonish sensibilities. Perhaps the greatest compliment I can extend to all involved is the following: if you were able to accomplish something so winning as this on a modest budget, then I’d personally love to see what you can do if some major investors were willing to throw a few buckets of money your way. Great things come in small packages, and I think everyone is destined for more.
In the interests of fairness, I’m pleased to disclose that the fine folks at Story Mode I provided me with complimentary streaming access to Alien Country (2024) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Recommended.
Though some might disagree, I thought Alien Country (2024) was about as much fun as was possible in the modern era of independent filmmaking. While its effects work varies between good and acceptable, the story retains a fabulous comic tone all along the way that makes an inferior scene or two entirely palatable, much in the same way 1984’s Ghostbusters kinda/sorta gets mocked for its occasional cartoonish sensibilities. Perhaps the greatest compliment I can extend to all involved is the following: if you were able to accomplish something so winning as this on a modest budget, then I’d personally love to see what you can do if some major investors were willing to throw a few buckets of money your way. Great things come in small packages, and I think everyone is destined for more.
In the interests of fairness, I’m pleased to disclose that the fine folks at Story Mode I provided me with complimentary streaming access to Alien Country (2024) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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