We’re still feeling the effects of the COVID pandemic and there have already been movies made about it, including at least a couple that explore how much worse it could have been.  One of these is The Survivalist, a low, low-budget movie that depicts a total societal breakdown.  Projects like this can be intriguing if they creatively explore the human aspects of such a calamity, and this one makes an effort to do that — just barely.  But its script is just not up to the task.

Jon Keeyes’ film posits that a COVID variant has completely wrecked modern society and wiped out much, if not most, of the population.  One of the last people left, evidently the Survivalist of the title, is former FBI agent Ben (Jonathan Rhys Meyers), living alone on his rural farm.  A young woman, Sarah (Ruby Modine), arrives, followed closely by an armored vehicle filled with people who want her very badly.  They are led by Aaron (John Malkovich), a Messianic figure who has been sick but somehow recovered.  And they want Sarah at any cost.

The premise of the drama is presented within twenty minutes or so, leaving the rest of the running time to depict how five armed people fail to either persuade Ben to hand over the girl or eliminate him.  What had some promise becomes a slog as, one by one, each of the armed interlopers is killed or captured by Ben, who is still trying to understand why they want the girl so badly.  Then comes a protracted conclusion where Ben and Aaron continue to banter although it is perfectly clear that a killing is inevitable.  Even after more than an hour of grisly murders and attempted murders the script demands that Ben still suffer moral pangs about killing the man trying so hard to kill him.  It’s ridiculous.

The pandemic takes a back seat to all this human hunting nonsense, although its threat is always present.  The most interesting element is the radio voice of Jessica (Lori Petty), which describes the gradual decay of civilization as it occurs, offering a bit of exposition and a comforting presence even as modern culture lazily fades away.  Ben’s flashbacks to moments with his father (Julian Sands) also provide perspective, albeit a rather depressing one.  But the main thrust of the movie is this five-against-one offensive, wherein Ben realistically doesn’t stand much of a chance, but of course prevails because the script demands it.  ☆ 1/2.  6 May 2022.