We've spent plenty of time learning how the Australians and Italians see the end of the world in cinema on this site. But have you ever wondered how the Dutch envision the world post-apocalypse? Wonder no longer - Molly is here.
Our titular heroine (Julia Batelaan) has incredible fighting skills - owing as much to her stamina as her striking abilities - and supernatural powers that have kept her alive in the teaming wastelands. But now, the powers that be in charge of the Thunderland fight club are on the hunt for her. Their champion, The Truth, was defeated in combat and they want the one called The Girl to be their new star. And their leader, Deacon, wants to infect her with the zombie-like disease that he uses to keep everyone under his control. And once he kidnaps Bailey, the girl that Molly has pledged to protect, a confrontation between the two is inevitable.
What really struck me about this film is the way the fight scenes are presented. They're not gorgeous ballets filled with flashy bits of action. No, they're down and dirty skirmishes, with Molly often emerging because she has more heart than anyone else. Between the innovative camera work and use of colors, the film's low budget doesn't distract. And it's not played for laughs like Turbo Kid, a movie I've seen many reviewers compare it to.
I'll be on the lookout for more from creators Colinda Bongers and Thijs Meuwese. The end of the film sets up a sequel and they're already working on a prequel to this movie called Kill Mode.
Our titular heroine (Julia Batelaan) has incredible fighting skills - owing as much to her stamina as her striking abilities - and supernatural powers that have kept her alive in the teaming wastelands. But now, the powers that be in charge of the Thunderland fight club are on the hunt for her. Their champion, The Truth, was defeated in combat and they want the one called The Girl to be their new star. And their leader, Deacon, wants to infect her with the zombie-like disease that he uses to keep everyone under his control. And once he kidnaps Bailey, the girl that Molly has pledged to protect, a confrontation between the two is inevitable.
What really struck me about this film is the way the fight scenes are presented. They're not gorgeous ballets filled with flashy bits of action. No, they're down and dirty skirmishes, with Molly often emerging because she has more heart than anyone else. Between the innovative camera work and use of colors, the film's low budget doesn't distract. And it's not played for laughs like Turbo Kid, a movie I've seen many reviewers compare it to.
I'll be on the lookout for more from creators Colinda Bongers and Thijs Meuwese. The end of the film sets up a sequel and they're already working on a prequel to this movie called Kill Mode.