“The Fix” Is Incoherent but Intrigues

The Fix (Kelsey Egan, 2024) 3 out of 5 stars

In a world where climate change, air quality, and environmental issues are hot topics, director Kelsey Egan (Glasshouse) delivers a fast-paced tale about a world where humans need either one of two things to breathe: a filtered mask or a drug that detoxifies the air. Ella McPhee (Grace Van Dien, V for Vengeance), a celebrity spokeswoman for the drug’s manufacturer, “Lazarus,” stumbles upon an experimental prototype of the drug that causes her to change physically, altering her human appearance and giving her advanced abilities. As Lazarus’ CEO (Daniel Sharman, Every Man for Himself) utilizes all his resources to hunt down and capture Ella, she awaits whatever surprising and startling changes may come.

The Fix spends the first half of its story analyzing the impactful and pertinent themes of an unstable societal environment, creating a biological dystopia where class systems and available resources determine if people live or die. The rich make the decisions and the poor scrape by to survive. Towards the beginning of the film, Ella serves as commentary on the artificial praise and respect of a celebrity icon before she is launched into a “Mutant X” conundrum. The subtle and sleek uses of futuristic technology add a satisfying aesthetic touch.

Where The Fix goes astray is in trying to tackle two high-concept ideas at once. Egan no sooner establishes a world with toxic air before she dives into human mutation. As one theme starts to become irrelevant, the other takes over the plot. In some ways, the two ideas merge to form one super concept, which is the idea that humans can evolve in order to survive. However, The Fix tends to bite off more than it can chew here, and these fascinating ideas are drowned out by action sequences and mediocre dialogue.

What is left is the generic story elements: a corrupt government entity, renegade heroes, sacrifices, and other story points that viewers have seen in other films. Whilst still entertaining, the film rides on the fantastic notion that a drug made to alter humans’ abilities to combat toxic air somehow turns them into a mutant. If this sounds too wild to be true, that is because to a certain degree, Egan’s execution of such outlandish ideas becomes mildly ridiculous, and also comes to a screeching halt with a last-minute plot point that leaves the viewer in confusion and either demanding more or relieved the ride is over.

Adam Vaughn

Adam Vaughn is a graduate of the Film & Moving Image program at Stevenson University, with a focus in Cinematography and Production. He also has a minor in Theater and Media Performance. Adam works as a freelance photographer and videographer, focusing his craft on creating compelling photographic and cinematic imagery. Adam is excited to join the Film Festival Today team and explore the world of cinema and visual arts.