Director Joe McReynold’s (“The Vern: A One Hit Wonder Story”) newest film, Inhumanity (2018) has a strong opening that reflects both the bellowing, multilayered sound of Gaspar Noe’s ‘Enter the Void’ mixed with the flashbacks and graphics of a dated late 80’s crime television show.
While the first few minutes of the film attempt to establish a convoluted, multilayered plot, the unique style and genre bending of the film piques the viewers attention. Unfortunately, the manner in which the rest of the film unfolds does little to capture our attention and hold it enough to allow us to be invested.
In summary, the film follows newcomer Darcell Danielle, Jessa Dixon (“2 Years Of Love”, “Waco (TV)”) who, after being attacked by a notorious criminal, wakes up from a coma to find her father (a local Texas police officer) has committed suicide.
In an attempt to bring her father to justice, Darcell (with the help of her stereotypical private-detective partner) uncovers a deeper corporate conspiracy plot involving what seem to be a mad scientist, the police and her attacker.