There have been a great many films made about the subject of cloning. Without examining all the possible tropes we’ve amassed from these various productions, it’s still interesting if not worthwhile to highlight a few themes that generally bubble to the surface.
First up, audiences are often asked to accept whatever the storyteller’s chosen ‘place in the world’ is with these clones. Sometimes, they’re superior to humans, perhaps even manufactured to serve in climates proven inhospitable to most lifeforms; and this ultimately gives these creations an expendability that figures into the main premise. While such a perspective may ultimately be proven wrong, viewers are usually led to this conclusion by way of the human characters.
Furthermore, screenwriters often go to some lengths to show how such clones are different from us despite mainly achieving whatever goals they can with essentially the same human packaging. In some cases, this implies that certain traits characteristically tied to flesh and blood people – or maybe even a biological function or two – gets limited or completely removed from their physiology. The goal here is often to portray these counterparts not only less-than-human but also uniquely ‘as human’ as are you and I; and this, too often figures prominently into the film’s central idea.
Lastly, these works typically go to great pains to remind audiences that not only is cloning illegal but also tries to elucidate precisely why such illegality is a necessary component of life. Sometimes this gets accomplished by limiting the lifespan of the clones to but a few years or giving them a task-specific existence such as service to the military or some scientific organization which monitors them. Whether or not we agree with this, the point made usually is to promote a clone’s disposability: they’re not fully realized beings but some genetic conglomeration, so it’s imperative that they’re not portrayed as equals.
Of course, there are dozens if not hundreds of other attributes that could come into play with any iteration of the classic clone story; but I’ve tried to home in on those few that more commonly get screen time. To varying degrees, each of the above plays some piece in 2024’s Day Of The Clones, a somewhat bleak addition to the growing pantheon of SciFi flicks exploring this alternative version of life on Earth; and yet I’m still somewhat confused by what writer and director Eric Steele inevitably wanted to say about man playing God. A good deal of my confusion, however, is owed to the fact that Clones is at best an underwhelming realization, plagued with bad sound, muddled dialogue, and underwhelming vision. It only occasionally congeals properly; and even with those few good vignettes I’m still at a loss over what to make of it all, especially since it all goes nowhere.
(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 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:
“When homicidal clones take over the world, a guilt-ridden scientist tries to protect a group of humans in an isolated farmhouse. But the child growing in his girlfriend's womb might just spell the end for mankind.”
First up, audiences are often asked to accept whatever the storyteller’s chosen ‘place in the world’ is with these clones. Sometimes, they’re superior to humans, perhaps even manufactured to serve in climates proven inhospitable to most lifeforms; and this ultimately gives these creations an expendability that figures into the main premise. While such a perspective may ultimately be proven wrong, viewers are usually led to this conclusion by way of the human characters.
Furthermore, screenwriters often go to some lengths to show how such clones are different from us despite mainly achieving whatever goals they can with essentially the same human packaging. In some cases, this implies that certain traits characteristically tied to flesh and blood people – or maybe even a biological function or two – gets limited or completely removed from their physiology. The goal here is often to portray these counterparts not only less-than-human but also uniquely ‘as human’ as are you and I; and this, too often figures prominently into the film’s central idea.
Lastly, these works typically go to great pains to remind audiences that not only is cloning illegal but also tries to elucidate precisely why such illegality is a necessary component of life. Sometimes this gets accomplished by limiting the lifespan of the clones to but a few years or giving them a task-specific existence such as service to the military or some scientific organization which monitors them. Whether or not we agree with this, the point made usually is to promote a clone’s disposability: they’re not fully realized beings but some genetic conglomeration, so it’s imperative that they’re not portrayed as equals.
Of course, there are dozens if not hundreds of other attributes that could come into play with any iteration of the classic clone story; but I’ve tried to home in on those few that more commonly get screen time. To varying degrees, each of the above plays some piece in 2024’s Day Of The Clones, a somewhat bleak addition to the growing pantheon of SciFi flicks exploring this alternative version of life on Earth; and yet I’m still somewhat confused by what writer and director Eric Steele inevitably wanted to say about man playing God. A good deal of my confusion, however, is owed to the fact that Clones is at best an underwhelming realization, plagued with bad sound, muddled dialogue, and underwhelming vision. It only occasionally congeals properly; and even with those few good vignettes I’m still at a loss over what to make of it all, especially since it all goes nowhere.
(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 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:
“When homicidal clones take over the world, a guilt-ridden scientist tries to protect a group of humans in an isolated farmhouse. But the child growing in his girlfriend's womb might just spell the end for mankind.”
The beauty of dealing in Science Fiction is that – when it’s done well – the future can be anytime. In other words, all that’s needed to make an ordinary film into a Science Fiction one is to pick up and run with one of SciFi’s big conceits, be it aliens or technology or spaceships or an Apocalypse or whatever main thread is needed to tie a screenplay’s characters and setting together. In Day Of The Clones, Eric Steele adapts his own work of fiction into a screenplay and directs the action; and – in the pursuit of a story – he’s focused in on cloning and what its implications may very well be for the very near future. Let’s just say that – like a good many thrillers – it ain’t good.
Failed scientist Andrew Callwood (played by Johnny Topping) and his pregnant girlfriend Lindsey (Laura Montgomery Bennett) finds themselves on the run after civilization collapses when an entire race of worker clones rebel against mankind – don’t they always? – and bring our world to the brink of extinction. Their android Kellogg is all they have to help protect them on their journey into the wasteland; and the three eventually take up residence in an abandoned homestead far outside of the big city. Though they brush up against a few other survivors, it grows increasingly obvious that these evil clones are obsessed with wiping our world clean of humans, making the last big showdown between us and them a looming reality no one can or will escape.
So, yes, one needn’t be a rocket scientist (snicker snicker) to see how Steele and his cast and crew set out to explore the highs and lows of Apocalyptic SciFi with this story. The issue I have with all of it is that, quite frankly, its so horribly assembled. As one who has endured a great many independent genre films (and have praised many), Clones is a bit of a mess. The sound work is so egregiously rendered across the production that it’s damned hard to discern what’s being said perhaps seventy to eighty percent of the time. While I was able to pick up the highlights here and there, I’ll admit that I had to go back and rewatch several scenes in order to have any possible sense of what was communicated. While I can’t prove anything conclusively, I’m willing to guess that none of these actors or actresses were miked; and the end result shows … horrifically.
Of course, further complicating these sound matters is that all of this talent speaks with reasonably heavy accents, creating an even greater clusterfuck for those of us unfamiliar with certain thick dialects. Thankfully, this wasn’t always the case – a handful of interior scenes are markedly easy to hear, so some of the meatier character moments are presented in such a way as to make them audible – but I suspect a good number of watchers might turn this one off in frustration before getting to the last third of the movie. Still, it’s difficult to review anything wherein I can only work off so little; and I suspect a good deal of Andrew and Lindsey’s struggle – that tied into the importance of the birth of their child – is something that I’ll never understand in the current format.
Failed scientist Andrew Callwood (played by Johnny Topping) and his pregnant girlfriend Lindsey (Laura Montgomery Bennett) finds themselves on the run after civilization collapses when an entire race of worker clones rebel against mankind – don’t they always? – and bring our world to the brink of extinction. Their android Kellogg is all they have to help protect them on their journey into the wasteland; and the three eventually take up residence in an abandoned homestead far outside of the big city. Though they brush up against a few other survivors, it grows increasingly obvious that these evil clones are obsessed with wiping our world clean of humans, making the last big showdown between us and them a looming reality no one can or will escape.
So, yes, one needn’t be a rocket scientist (snicker snicker) to see how Steele and his cast and crew set out to explore the highs and lows of Apocalyptic SciFi with this story. The issue I have with all of it is that, quite frankly, its so horribly assembled. As one who has endured a great many independent genre films (and have praised many), Clones is a bit of a mess. The sound work is so egregiously rendered across the production that it’s damned hard to discern what’s being said perhaps seventy to eighty percent of the time. While I was able to pick up the highlights here and there, I’ll admit that I had to go back and rewatch several scenes in order to have any possible sense of what was communicated. While I can’t prove anything conclusively, I’m willing to guess that none of these actors or actresses were miked; and the end result shows … horrifically.
Of course, further complicating these sound matters is that all of this talent speaks with reasonably heavy accents, creating an even greater clusterfuck for those of us unfamiliar with certain thick dialects. Thankfully, this wasn’t always the case – a handful of interior scenes are markedly easy to hear, so some of the meatier character moments are presented in such a way as to make them audible – but I suspect a good number of watchers might turn this one off in frustration before getting to the last third of the movie. Still, it’s difficult to review anything wherein I can only work off so little; and I suspect a good deal of Andrew and Lindsey’s struggle – that tied into the importance of the birth of their child – is something that I’ll never understand in the current format.
Additionally, it’s a bit presumptuous of me – given this predicament – to pronounce any critical judgment over the second characters who show up seemingly for no other reason than to be dispatched. A soldier named Solent comes and goes so very quickly I’m completely at a loss as to gather any idea of why he even needed to be in the film: as I said, he’s in it for a scene and a meal before deciding the lead couple had nothing to offer him and he vamoosed. Similarly, a young couple turn up for a slightly longer duration; and yet they, too, seem to fulfill no singular purpose for their own existence except (of course) to sell out the hero and heroine in the fashion audiences expect from such impetuous upstarts. Again … would like to have known more … but there’s so little to glean from the soundtrack that I have to leave it at that.
Now, this is not to say that it’s all bad at the end of the world as we know it. There are a few sequences – a handful, at best – that employ some surprisingly good cinematography; and the entire production cracks positively of making the best everyone can of their obvious limited resources. It’s all so jarringly uneven that I can’t help but wonder if one cameraman was on his way out the door when another took over, and this process continued until the film was completed. (There’s a title card in the beginning that suggests this was completed in the great COVID Years, so that very well might be the case.) Yes, the production design faulters here and there. Of course, the flick’s one big special effects sequence plays out like the best a smartphone APP could produce. But indies function on being lean and mean, and Clones is no different. It might end with a drought of ideas and narrative originality; and yet I’m still okay giving all involved a nod for giving it a go. I just wish all of it meant something as the closing scene suggests the opposite entirely.
Day Of The Clones (2024) was produced by Vamoose Productions. DVD distribution (for this particular release) has been coordinated by the fine folks at Random Media and Warner Archive. As for the technical specifications? Well … while I’m no trained video expert, I can still see and hear that a good deal of Clones is a bit of a mess. Its audio work is particular underwhelming; and – minimally – I think a good deal of confusion could’ve been averted if the disc had English subtitles. It’s just painfully awful to make out what’s been said far too much of the time. The cinematography works – there’s a glaring continuity error in the last reel that involves night-time switching to day and back again – but that’s the least of its worries, to be honest. Lastly, if you’re looking for special features? Honestly, I couldn’t even access a disc menu on this one, so you’ll have to tell me if you ever find out.
Alas … only Mildly Recommended.
The difficulty I have in discussing an independent feature like Day Of The Clones is that I come away feeling as if the story, its characters, and its potential message should’ve been more important; and yet the sad truth here is that this one is so underproduced in the sound department – muffled microphones (if any) and thick accents make for an awful combination – that I’m honestly amiss as to what might be some very key elements. Where did all of these clones come from? What caused them to go awry? Why were they all crafted in one (or two) man’s image? Without knowing a bit more – and I’m entirely uncertain if these particulars were in here, the audio is so bad – I feel like the whole affair might be best chalked up to ‘lost in translation.’ I’ve no issues with the dour finish – Science Fiction and Fantasy proved long ago that they’re best joined at the hip with desolation – but the collective journey of these particular characters started out, seemed almost entirely, and finished up seemingly pointless.
In the interests of fairness, I’m pleased to disclose that the fine folks at Random Media and Warner Archive provided me with a complimentary DVD of Day Of The Clones (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
Now, this is not to say that it’s all bad at the end of the world as we know it. There are a few sequences – a handful, at best – that employ some surprisingly good cinematography; and the entire production cracks positively of making the best everyone can of their obvious limited resources. It’s all so jarringly uneven that I can’t help but wonder if one cameraman was on his way out the door when another took over, and this process continued until the film was completed. (There’s a title card in the beginning that suggests this was completed in the great COVID Years, so that very well might be the case.) Yes, the production design faulters here and there. Of course, the flick’s one big special effects sequence plays out like the best a smartphone APP could produce. But indies function on being lean and mean, and Clones is no different. It might end with a drought of ideas and narrative originality; and yet I’m still okay giving all involved a nod for giving it a go. I just wish all of it meant something as the closing scene suggests the opposite entirely.
Day Of The Clones (2024) was produced by Vamoose Productions. DVD distribution (for this particular release) has been coordinated by the fine folks at Random Media and Warner Archive. As for the technical specifications? Well … while I’m no trained video expert, I can still see and hear that a good deal of Clones is a bit of a mess. Its audio work is particular underwhelming; and – minimally – I think a good deal of confusion could’ve been averted if the disc had English subtitles. It’s just painfully awful to make out what’s been said far too much of the time. The cinematography works – there’s a glaring continuity error in the last reel that involves night-time switching to day and back again – but that’s the least of its worries, to be honest. Lastly, if you’re looking for special features? Honestly, I couldn’t even access a disc menu on this one, so you’ll have to tell me if you ever find out.
Alas … only Mildly Recommended.
The difficulty I have in discussing an independent feature like Day Of The Clones is that I come away feeling as if the story, its characters, and its potential message should’ve been more important; and yet the sad truth here is that this one is so underproduced in the sound department – muffled microphones (if any) and thick accents make for an awful combination – that I’m honestly amiss as to what might be some very key elements. Where did all of these clones come from? What caused them to go awry? Why were they all crafted in one (or two) man’s image? Without knowing a bit more – and I’m entirely uncertain if these particulars were in here, the audio is so bad – I feel like the whole affair might be best chalked up to ‘lost in translation.’ I’ve no issues with the dour finish – Science Fiction and Fantasy proved long ago that they’re best joined at the hip with desolation – but the collective journey of these particular characters started out, seemed almost entirely, and finished up seemingly pointless.
In the interests of fairness, I’m pleased to disclose that the fine folks at Random Media and Warner Archive provided me with a complimentary DVD of Day Of The Clones (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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