– Duncan Jones’ loveable experiment based on the science-fiction comic strip of the same title follows a lone genetically engineered soldier seeking revenge on an alien planet
Rogue Trooper, Duncan Jones’ latest effort, which he directed, co-wrote (together with Gerry Finley-Day) and produced, has world-premiered at the Annecy International Animation Festival. Based on the comic strip created by Dave Gibbons, which was published in the UK as part of 2000 AD, the film is a sci-fi with strong tongue-in-cheek comedic elements.
The protagonist of this eccentric tale is 19, a “Genetic Infantryman” (Aneurin Barnard) who finds he is the sole survivor of an invasion force on the alien planet of Nu Earth. There, two unrelenting armies are fighting against each other: the Norts and the Southers. Desperate to track down the traitor who sold him and his comrades out, the super soldier is accompanied by three of his squad mates who were killed in action. The best part of this is that their personalities have been stored in his gun, helmet and rucksack – they are, respectively, Gunnar (Jack Lowden), Helm (Daryl McCormack) and Bagman (Reece Shearsmith).
The film can count on an incredible ensemble of actors, with several performers drawn from the world of comedy. Hayley Atwell plays the cool and powerful Venus Bluegenes, while Diane Morgan lends her unmistakeable voice to Colonel Logan. The cast also includes Sean Bean and Asa Butterfield, among others. As such, in this mixed bag, a wide range of accents can be heard, and Jones clearly plays with stereotypes, having fun subverting them and creating a melting pot that rarely feels exaggerated. Having said that, some viewers may feel it is sometimes over the top, but it’s so funny that you can’t help but love it. Nonetheless, the British flair and some of the jokes will definitely land better in its homeland, where 2000 AD is already a cult phenomenon. The soundtrack shares the same spirit and proves to be one of the coolest heard in a film like this in a while. It’s absolute bold-as-brass madness.
The greatest element of Rogue Trooper is its ability to build a world that mixes comedy, sci-fi and political undertones in a well-calibrated manner, and even if it is sometimes uneven, it still finds a way to be unique. The film was shot on a relatively low budget, which rarely shows, and when it does, it is actually all the cooler for it. It will probably capture the hearts of some of the audience, especially those who may discover they are fans of a genre they had previously seen only through big-budget productions. This approach of not taking itself too seriously – while also taking itself seriously – will provide a breath of fresh air.
Barrett Heathcote’s editing shapes the story, which may have benefited from a slimmer running time; even so, it does feel like a shame when the movie ends. Once you enter the world Jones creates, with all its quirks and rough edges, you almost don’t want to leave. This will most likely leave room for a certain fandom to develop, which hopefully won’t remain too low-key and will be able to help fuel a new European wave capable of competing with major US productions. In such a David-versus-Goliath battle, this experiment provides a ray of hope.
Rogue Trooper was produced by the UK’s Liberty Films and Rebellion. Its world sales rights are still up for grabs.
