Captive State

With its muted action and muddled subtext, Captive State is destined to become a footnote in the alien invasion subgenre.

The premise seems timely and provocative in this science-fiction saga from British director Rupert Wyatt (Rise of the Planet of the Apes), but rarely does that translate to consistent suspense.

The story drops moviegoers into a Chicago neighborhood sometime in the future, about a decade after aliens have, in fact, taken over the planet and begun operating governments around the world.

Claims of low crime and economic prosperity don’t paint the entire picture, however, as there are constant threats for ordinary Americans living under such autocratic rule. That leads to a grassroots resistance, as well as opposing efforts to preserve the status quo.

On one side of the conflict is Gabriel (Ashton Sanders), a young data technician hoping to avenge the death of his brother (Jonathan Majors), apparently by government forces. The efforts of Gabriel and others, which include crashing a public rally at a football stadium, are monitored by regime sympathizers including a shady cop (John Goodman) whose relationship to a prostitute (Vera Farmiga) is more than it initially seems.

After a sluggish start, the uneven film gradually builds narrative urgency as it reveals details about the mostly unseen invaders, along with their sinister motives and methods.

Aiming for a more cerebral treatment of familiar themes, the screenplay by Wyatt and Erica Beeney (The Battle of Shaker Heights) crafts an intriguing if somewhat confusing dystopian scenario without a compelling story to unfold inside of it.

As a result, the incentive for emotional investment in the outcome is reduced, even as the stakes escalate to the extent that the future of humankind essentially rests in the balance. Instead, the most chilling moments tend to come in short bursts, such as the harrowing opening sequence that sets an ominous tone.

Captive State manages a stark and stylish depiction of its futuristic urban wasteland. The ensemble cast of character actors does its best with the collection of thinly sketched roles, with Sanders (Moonlight) providing an emotional anchor amid the chaos surrounding him.

That juggling of characters extends to the half-hearted attempts at social commentary about terrorist extremism, socioeconomic disparity, dirty politics, and more. Ultimately, just like the aliens, the film’s execution can’t match the ambition.

Rated PG-13, 109 minutes.