Peterson’s empty threats fails to scare its characters revolving around it let alone put an entire world on the verge of annihilation.
Peterson’s empty threats fails to scare its characters revolving around it let alone put an entire world on the verge of annihilation. Driven with similar concept, years later Soderbergh itself took charge over such a tale and he too failed on delivering this cautionary tale with any whatsoever flow. Ironically, carrying the tracks of the disease they didn’t have much of a big challenge to be fluent but what sticks this wheel from spinning are the characters that it was supposed to map out. Whenever dealing with such a script that takes you over different territories, the characters that comes in to pass the torch forward, ought to have an arc or at least have the potential to leave an impression, but this seems a far fetched concept in here.
Amidst all these disappointments, surprisingly its middle act is a nail biting enthralling drama, from flipping the courts to close calls and from unexpected revelations to an exhilarating chase sequences. And before you know it, that stage is overridden by spoiled dull thrills that are taken for granted along with numb emotions that clearly doesn’t go as anticipated. Hoffman as the savior that cracks every pattern and codes is convincing along with Spacey as surprisingly a positive character that still is somehow difficult to digest.
Freeman and Sutherland as the powerful selfish antagonist are your stereotypical one dimensional character alongwith Russo as a sort of love interest. But Cuba is the one that stands alone among all that cries, laughs, fears and rage of his in this crisis. His moving character and his impressive brotherhood equation with Hoffman is both heartwarming and charming. Outbreak, if anything, is a threat to the makers on their investment, to the actors on their talent that goes waste by, and audience that just can’t spare the time for its mediocrity.