Frankly, nobody really seems to be curious about what the spike is and what it does. Even though its impact is bafflingly random, people just accept it as a plot device, including Thalia and Kai. She was delivering her prize honey bees, who had a hot date pollinizing a farm. He was figuring out where he should go in the mullet-worthy sportscar he inherited from his best friend. They nearly collided. Instead, a freak spike came down, swapping the area with her bee-trailer and his car, with some mountainside land they deduce must be up in Washington.
Since Thalia still has her truck, they eventually hit the road (after some pointless debate) to reclaim what is theirs. Of course, we know it will turn into a therapy session. Ironically, both his pal and her husband and daughter died of tragic but conventional ways unrelated to the spike, which in a way, makes their losses worse.
As you might have figured, Arnold & Wong’s screenplay is really an on-the-road story, spruced-up with science fiction window dressing. The comedy is inconsistent, at best. However, the way it depicts the vibe of life amid a slow apocalypse is surprisingly resonant. In a way, it is reminiscent of Israeli society, which chooses to embrace life, despite the constant threat of death and terrorism.
Arnold, Wong, and company sometimes try to be too indie-cute for its own good, but the film’s inherent decency is rather refreshing, Its nice, which shouldn’t be considered a slam. Recommended as an eventual streaming option, We’re All Gonna Die screens tonight (8/9) as part of this year’s AAIFF.
