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= Twenty Twenty-Four =

Twenty Twenty-Four (also known as It Lives in the UK) is a 2016 British Science Fiction, Psychological Thriller film written and directed by Richard Mundy. It stars Andrew Kinsler and Peter McCrohon. It tells the story of a lone scientist tasked with maintaining an underground bunker for the coming global nuclear disaster. But after becoming prematurely isolated, he slowly begins to question his own reality and whether he is truly alone.

As Richard Mundy’s debut feature, production took place over a period of three years due to the films complex setting of a nuclear bunker location. The film has been praised for its one-man performance by Kinsler, its visual style, intricate production design, and musical score. However, the film has polarized some viewers, due to its ambiguous and dream-like nature. Leading to much speculation regarding the films meaning.

Plot
A lone scientist named Roy maintains ‘Plethura' an underground bunker, for the coming nuclear disaster. Although conflicted with the fate of humanity and his own purpose, Roy keeps the bunker ever-prepared for those who will eventually come to populate it, known as ‘Priority One’. But things take a dramatic turn when Roy becomes prematurely isolated. Locked in, and with no knowledge of what has happened 'Up Top', it becomes painfully clear that Roy is alone and nobody is coming for him. With only the bunker’s AI computer console ‘Arthur’ for company, the claustrophobic walls of Plethura slowly tighten their grip on Roy. As time begins to blur and reality begins to slip, Roy begins to experience nightmarish visions, as the bunker appears to be influencing his sanity. After several strange and unexplainable events, an increasingly paranoid Roy, begins to confront the terrifying prospect that he may not be alone in the bunker. With no hope of escape and nowhere to hide, Roy has no choice but to confront the true terror of Plethura.

Cast

 * Andrew Kinsler as Roy
 * Peter McCrohon as Mr Rand

Production
Twenty Twenty-Four is notable for its intricate production values. The filmmakers were tasked with building the fictional underground bunker complex of ‘Plethura’ which was comprised of several purpose built sets and various real locations. Much of the technology in the bunker, was also made as practical effects. Most notably, ‘Arthur’ the AI computer console, which was a working prop that Kinsler was able to interact with. The bunker’s construction, principal photography and post production took three years to complete.

Release
The film premiered at the Empire Cinema, Leicester Square London on May 7, 2016. The film continued with a limited run on the film festival circuit in the UK & US. It was released in North America and available on Hulu from March 1, 2018. It is also available on HBO Europe and Cinemax 2. It was released on digital platforms and DVD in the UK under the alternate title "It Lives" on August 6, 2018.

Reception
The film has received generally positive reviews, with praise given to the films ambition and its technical attributes. Most notably, its cinematography and production design. However, the film has also been criticized for its slow pace and ambiguous ending which has polarised some viewers.

Andrea Chase of Killer Movie Reviews gave the film five stars saying "This is an arresting, immersive experience. From the carefully drained color palette, to the cinematography that shifts between long tracking shots and sudden, slamming static shots that play upon both the monotony of Roy’s routine in claustrophobic settings and the unreality of them. When an object is not where it should be, when a door’s handle moves, we are never quite sure what is happening, or why, except that it is a nightmare, real or not."

Victor Fraga of DMovies wrote of the films dream-like quality by saying "The dark imagery elegantly veers between reality, dream and allegory, and it is often impossible to distinguish between these three film layers. It is precisely this narrative and poetical freedom, supported by good acting and convincing photography, that make this movie a powerful viewing experience"

The Independent Critic wrote "Twenty Twenty-Four is a gently paced, patient film with a story that thrusts the viewer to reach a conclusion and, I’m guessing, encourages the viewer to discuss the film after the closing credits have rolled."

In contrast, of the films ending, Film Inquiry wrote "Though clearly a nod to other ambiguously-ended films, in order to carry its message further, this story needed more answers. I found it frustrating to go through such an intense ride, only to be dropped off with no conclusion whatsoever. There was so much potential and depth explored early on that could have resulted in any number of mind-blowing endings"

Horror Cult Films also wrote of the films ending "I appreciate not everything needs to be spelt out, and it isn’t the ambiguity that bothers me. Rather it’s the abruptness that’s extremely jarring. I’d assume this is likely the intention, with the reality of the situation being less important than the character in it – who fully believes it even if audiences haven’t finished deciding. But I’d have wanted something more conclusive."

Interpretation
The films ending has been the subject of some debate. Due to the many ambiguities presented throughout the film, various interpretations can be drawn, depending on the viewer’s point of view.

Insanity & The Manifestation
After becoming isolated in the bunker, Roy’s mental state gradually begins to deteriorate as the unexplained events and strange encounters occur. The question of whether these events are happening in Roy’s head is unclear. In some sequences, Roy’s tormentor (The Manifestation) appears to make physical contact with objects, such as opening doors or forcibly smashing glass. Leading to a discrepancy between physical and psychological logic. The appearance of The Manifestation, leads to the suggestion that events may be occurring as Roy is witnessing them and not in his head. Roy’s eventual disappearance and the question of who’s eyes awaken in the final moments (Roy’s or The Manifestation) is left unanswered.

Roy is Dreaming
Once Roy is informed he must leave the bunker and that nuclear conflict is imminent, he confides in ‘Arthur’ his fears of returning to the surface. Roy is shown to fall asleep only once throughout the duration of the film. His eyes awaken to find the bunker going into isolation. From this point on, events begin to slip into a nightmarish atmosphere with Roy experiencing, dream-logic ambiguities. The film’s final moments, appear to show Roy’s eyes awakening, possibly suggesting that the events, post-isolation may have been a dream. The films slow, hypnotic style, also suggests a dream-like quality.

Simulated Environment
Surveillance feeds features heavily throughout the film. Roy is constantly being watched. After isolation, Roy’s paranoia increases, as he begins to question the authenticity of his surroundings. Reasoning he may be a test subject, for those watching ‘Up Top’, studying the effects of isolation, for the real eventual inhabitants of the bunker. Roy’s conversations with ‘Arthur’ usually involve examination of his thoughts and fears. Raising the question of whether ‘Arthur’ is self-consciousness, or if Roy is merely communicating with someone watching him ‘Up Top’. When Roy discovers a hidden door, he is forced to choose between accepting his reality as the truth, or believing that he is in a simulated environment. Knowing that opening the door may lead to his death if he is wrong, Roy chooses to accept his reality. The outcome of this event and the question of whether Roy has lost his sanity or was in fact a test subject is left unresolved.