Reset

Best of all, Yammine never loses sight of what the main attraction is: scenes of aliens being blasted with shotguns. While Reset is intellectually more ambitious than many creature features, its visceral content runs rich with blood the color of fun. This goes back to the displayed DNA of the classic regional Drive-In picture that the film sports, making sure catharsis is always two steps ahead of craft. This is the reason why regional B-movies are the backbone of the indie cinema-verse: they know how to party and they do it by their own rules.

The rural outlaw sensibility that guides the locations and production design also extends to the film’s themes and point of view. This means people solve their own problems, usually with lots of guns. While it may not always work in the real world, this philosophy works like magic onscreen and is a major element of raw entertainment.

“Yammine pulls off every trick in the indie book to create the biggest show from the lowest budget.”

There are also spiritual overtones present that enhance the story without overdoing it and making it a parable. The presence of crosses and angels here and there is done on the same level of subtlety and sophistication that David Hare used with Christianity in his plays.

While I can see a faith-based audience adoring Reset, I wouldn’t go so far as to market it as such. The Christian imagery and references adds a lot of richness to the film, but is done sparingly enough so that it doesn’t pull focus from blasting aliens. So for an unfiltered dose of red-blooded sci-fi carnage, send this spiraling through your nervous system.