EMMAGEDDON is a charming enough film about Emily (Bre Mueck) who dreams about being a hero. But in reality, she just wants to have a better life than the one she has now and the way she throws herself into an imagined world, where she and Emma are the same, can get confusing. Both of them work at a coffee shop by day and, together, yearn to do much more after hours. The former is struggling to be a screenwriter and when this story is set in Los Angeles, to break into the entertainment industry is tough.
The title of this film is not misleading; the plot considers the turmoil this young lady carries within herself. And the conflict is internal rather than external, and the soundtrack helps develop the movement to a rather perplexing climax.
This work, written and directed by Ryan M. Moore is a mix of character drama and satire. And the way the story presents itself suggests Emily is most likely playing the events out in her head; the story she wrote is based on her life. From believing her place of employment is a front for a James Bond style villain planning to take over the world to having a mentor admit he’s jealous of his students’ imaginative work, the concept feels like a live action take on Captain Underpants. In the fictional world, the lead is named Emma (Mueck).
Everything presented in this made-up world is as corny as the DreamWorks adaptation of the books. Although some of the film’s marketing is a touch misleading by saying, “superhero,” it’s only because this realm is what the summaries are trying to play up. Here, what’s presented shows how she’s been taking things far too personally. That’s when she dons a ballerina-like costume and calls herself Emmageddon.
Honestly, that’s a terrible name for a superhero. It doesn’t roll off the tongue fast enough. By the time the first syllable is uttered, this Batman wannabe will have thrown the first punch! While that’s ok for her to yell that as a term of empowerment, there’s just something missing if this story is supposed to be taken seriously.
Viewers really need to pay attention, as “real life” and “the fantasy” blend together and the only time when the latter is distinguishable is when the edges of the image are distorted. It’s a nifty trick with the camera lens, and not everyone will notice. And as for which story matters, I much prefer the one where Dylan (Matthew Luret) is the only person grounded in reality. His infatuation with Emily carries the film, and the fact he’s read all her screenplays suggests a genuine interest in helping her develop her craft. Even though this film is very eccentric in flipping between the two Em characters, at least this supporting character steals the show, and nobody but him is the wiser.
EMMAGEDDON, AN EXERCISE ABOUT EVERYTHING EMMA is now available to watch on Tubi.