Dave Bautista & Milla Jovovich Star in ‘In the Lost Lands’: A Dystopian Road Trip Review!

“Game of Thrones” debuted 14 years ago and quickly became a global phenomenon, which makes it somewhat unexpected that “In the Lost Lands” is only the second adaptation of George R.R. Martin’s work to hit the silver screen—the first being the 1987 sci-fi horror “Nightflyers.” While fans of the epic series may find the scope of this movie less grand, as it is based on one of Martin’s shorter tales, the latest project from director Paul W.S. Anderson and actress Milla Jovovich stands solid as an engaging fantasy flick suitable for a casual movie night, offering plenty of action and entertainment despite its simpler plot.

The film opens with a rugged Dave Bautista in the role of Boyce, a mercenary wanderer who narrates “a story of magic and witches, of quests and monsters, of good versus evil.” This introduction might suggest a grand epic, but what follows is more akin to a “Mad Max” story with elements of fantasy rather than something on the scale of “Lord of the Rings” or even “Game of Thrones.”

The story introduces us to Gray Alys, played by Jovovich, who narrowly escapes execution as a heretic under the orders of Ash (Arly Jover), who is a zealous enforcer in a dystopian future governed by a monarchy intertwined with a cult-like religion. Soon after her escape, Gray Alys receives a secretive visit from Queen Melange (Amara Okereke), who desires the power to transform into a beast—a power rumored to belong to distant werewolves. As the queen departs, her devoted follower Jerais (Simon Loof) implores Gray Alys to sabotage the queen’s quest, fearing the corrupting nature of such power. Caught between conflicting loyalties, Gray Alys sets off on her quest with distinct, opposing goals.

To fulfill the queen’s wish, Gray Alys must venture into the perilous Lost Lands to extract the essence of a “Shapeshifter” for the queen. She enlists the hardened Boyce as her guide and protector. Boyce, armed with a shotgun adorned with a lethal double-headed rattlesnake, complements Gray Alys’s own array of mysterious magical abilities, which are gradually revealed. Viewers are advised to embrace the fantastical elements without too much scrutiny to fully enjoy the narrative.

Anderson skillfully crafts a visually captivating film, filled with atmospheric and action-packed sequences. The visual style is reminiscent of the “Resident Evil” series, characterized by gothic, steampunk, and videogame-inspired aesthetics, as well as exaggerated CGI-enhanced stunts. The overall extreme stylization fits well within the fantastical theme, not requiring strong adherence to realistic details.

The film benefits from the impressive contributions of production designer Lukasz Trzcinski, costume designer Milena Jaroszek, and visual effects supervisor Dennis Berardi, alongside Glen MacPherson’s striking cinematography and Niven Howie’s dynamic editing. Each element combines to keep the film visually engaging, despite a somewhat episodic and superficial script.

Some team members were likely chosen for their local ties to the film’s shooting location in Poland, while others are regular collaborators with Anderson. This established team excels in creating visually rich environments. A notable shift in the film’s setting introduces a Western motif as the protagonists traverse barren landscapes, evoking classic Western films, highlighted by Boyce’s outfit and the dusty sepia tones.

The film entertains with its over-the-top action sequences, such as a dramatic fight on a schoolbus converted into a cable car over a deep chasm. The characters may lack deep emotional layers, and the interaction between the leads may not offer much in terms of wit or romance, yet their familiar roles filled with intense action are competently performed, supported by a cast well-suited for their roles.

In a cinematic landscape filled with complex narratives and deep character studies, films like “In the Lost Lands” embrace their role as visually stunning, straightforward fantasy adventures. Anderson’s films have often celebrated the sheer pleasure of visual storytelling, akin to the immersive experiences offered by fantasy video games and graphic novels. When watching “In the Lost Lands,” it’s best to simply enjoy the ride without seeking deeper meaning, allowing the film to be a guilt-free pleasure.