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Cannibals are coming in the postapocalyptic thriller ’40 Acres’ — and this family is ready to fight

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As a seasoned movie reviewer, I’ve recently had the privilege of immersing myself in R.T. Thorne’s gripping post-apocalyptic thriller, “40 Acres.” This harrowing tale unfolds in a distant, turbulent future where humanity has devolved into a state of constant conflict.

The narrative follows Hailey Freeman (brilliantly portrayed by Danielle Deadwyler), whose ancestors were impacted by the infamous Plymouth Rock. Fast-forward to the present day, and Hailey is valiantly raising her own children in an environment where survival is paramount.

Set within a desolate stretch of rural Canada, the story unfolds some time in the 21st century. A catastrophic pandemic has decimated the animal population, and now, even the crops are failing. The fate of the rest of the world remains shrouded in mystery, but here, the woods have become a hunting ground for ravenous cannibals.

Hailey, a formidable military veteran, stands resolute against becoming another predator’s prey. In this unforgiving landscape, she embodies defiance and determination, refusing to succumb to the savagery that surrounds her.

Hailey expresses her skepticism about collaborating with neighbors or the remaining Army, stating that historically, the government has been more inclined towards violence, theft, and incarceration against Black people rather than helping them. The Freeman family, consisting of Hailey, her partner Galen, their adult children Manny, Danis, Raine, and young Cookie, have isolated themselves on a fortified farmstead that’s been in their family since 1852 when an enslaved ancestor escaped from a Georgia plantation and reached Canada. They maintain a well-equipped arsenal, an electric fence, and a strong mistrust of outsiders as a means of protection.

In the opening scene, a group of strangers invade their land, pretending to be amiable. “Hello,” their chief says with a smile. However, the Freemans remain silent. We only hear a few whistles and the swift, ominous sound of an ax striking a stranger’s skull.

You might find it interesting to know that Hailey often refers to her children as “soldiers” and consistently reminds them to follow her rules, starting from 4:30 a.m. until bedtime. Instead of conventional schooling (which she no longer follows), she encourages them to write essays based on “The Proletarian’s Pocketbook”, a motivational book filled with quotes from figures like Malcolm X, Fred Hampton, and Karl Marx.

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This summer promises to be quite exciting, brimming with blockbuster hits that could rival any big Hollywood production, intriguing independent films that cater to my unique taste, and a delightful assortment of mindless entertainment – a must-have for a well-rounded summer movie experience.

As a devoted cinephile, I must admit that one scene from this movie truly resonated with me. In the thick of things, one of the three daughters finds herself unconscious, yet Hailey continues to issue orders relentlessly. “You can’t stay down for too long,” she firmly declares, and it speaks volumes about her character that even in such an absurd situation, we sense the fear lurking beneath her tough exterior. Armed with a rifle, Deadwyler moves cautiously towards danger, embodying both an intimidating presence and palpable fear. Yes, she is fierce, but her strength derives from her pain.

In Thorne’s first film, his eagerness to make an impact sometimes comes off as overly obvious. He adorned Freeman’s bunker with old newspapers headlined with famine and violence – information that these characters are all too familiar with, making it seem more like a decorative choice than necessary. Thorne’s references can be both thought-provoking and disconcerting at times. The title “40 Acres” is suggestive, but it may leave viewers wondering how it connects to the family’s narrative in this story.

In this film, the line between historical accuracy and symbolic representation seems quite vague. Since the story takes place and was filmed in Ontario, we often find ourselves questioning how much American-themed elements the Canadian-born Thorne and co-screenwriter Glenn Taylor intend for us to perceive. The mention of Union soldiers in the woods leaves us puzzled rather than enlightened. One can’t help but wonder if this country, during the time depicted, formed a new army with the same name by sheer coincidence.

Indeed, Thorne crafts a determined depiction of a woman who’s trapped by generational pain. Just as the ancestor who built this homestead abandoned his family in Georgia, so too does that unyielding determination become Hailey’s legacy. At night, she tunes into her shortwave radio to listen to other struggling families without feeling compelled to offer assistance.

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In a chilling revisit to the haunting universe they established in the 2002 film ’28 Days Later,’ directors Danny Boyle, screenwriter Alex Garland, and cinematographer Anthony Dod Mantle delve back in.

The family only has one external connection: a radio acquaintance named Augusta (Elizabeth Saunders), who exchanges moonshine for their marijuana at a nearby storage facility. Known for her rough demeanor, she brings out Hailey’s crude (and uncensored) humor. We’re thankful the script eventually allows us to encounter Saunders’ Augusta so we can observe that she is as strong and endearing as her voice suggests.

However, it’s Manny, the eldest child, who yearns for more from life. This solitary young man becomes the central figure in the narrative when he sees a girl his age, Dawn (Milcania Diaz-Rojas), swimming in a nearby river. Tough and battle-scarred, with a white mark running down his back, Manny has faced ridicule for missing a crucial shot. Yet, there’s a soft kindness about him, as portrayed by the cinematographer Jeremy Benning, who has him observe Dawn through the sights of his gun. There’s an eerie, melancholic twist to this, as he spies on her beauty.

Manny struggles with flirting, especially when his mother’s philosophy is “act first, ask questions later.” However, his tentative interaction with Dawn Diaz-Rojas feels authentic under the circumstances. Interestingly, Dawn stands her ground too, yet even she finds the Freeman family to be somewhat antisocial and odd.

Todor Kobakov’s intense music composition is constructed of whirling melodies and deep-toned horns, which harmoniously blend with the retro hip-hop tracks from Manny’s vintage yellow-and-black cassette player. From the outset, the tension in the score foreshadows impending violence. The screenplay mainly focuses on the family dynamics, particularly Manny and Hailey, leaving us in suspense about the unnamed antagonists (referred to as “13 drifters” and “20 cannibals” in the credits). However, I find it intriguing how these characters are portrayed as seemingly harmless throughout. You’ll always remain on high alert.

In the somber atmosphere of “40 Acres,” we eagerly grasp at its fleeting instances of warmth, such as when Greyeyes’ gentle and sensible patriarch is taken aback that his daughters have unearthed a packet of fast-food BBQ sauce. “Colonial diabetes!” he chuckles. Additionally, Greyeyes engages in the film’s most visually striking combat sequences, one featuring a crucifixion, another illuminated solely by gunfire.

If Manny represents the soul of the movie, his mother plays a crucial role as its backbone. Deadwyler’s portrayal is impeccable, even when she seems to crush happiness and leaves us feeling like we might want to choke her. The struggle she depicts for survival, although symbolic, resonates deeply with anyone fighting to make ends meet without a safety net. Despite giving up on humanity, there must be another means of surviving.

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2025-07-01 23:02

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