In the astounding future year 2039, vox populi decides what prisoners wear, consume, watch…and most importantly who they fight via an online service called Panopticon TV. Before you can say “Fuck…The Running Man was a great film, ol’ PTV decides to increase their scope and make a whole town under their consumer’s whims as their most famous convict superstar, Hardin Jones (Jamie Draven), has gone rogue, escaped, and joined up with an underground resistance movement dedicated to put the kibosh on Panopticon.
Filled with hyperactive editing, jarring tonal shifts, and an ultra-derivative plot (as well as The Running Man, District 9 is cribbed liberally as well), Division 19 has a lot going against it right out of the gate. For all of it’s high-concept, just a few minutes from now, social commentary…those elements aren’t given a chance to simmer and develop due to the fact that every time things get interesting in the ol’ world building department along comes a fight scene to bring the story momentum to a halt. This gives the entire affair a schizophrenic feeling that leaves the viewer unable to enjoy either element to it’s fullest…and the fact those aforementioned action sequences are pretty ho-hum don’t add much to the proceedings.
On the flip side, the film does feature some great performances. Draven makes for an engaging, sympathetic lead, and supporting players Alison Doody and Linus Roache are entertaining as the Panopticon employees that try to keep the Jones sitch under control.
Also, for all of it’s storytelling faults, Writer/Director S.A. Halewood has a strong visual sense, and no shortage of solid ideas, I just wish she had settled on some and hadn’t been so referential to other works because it’s obvious she has a strong style uniquely her own buried under all of the missteps Division 19 offers up.
