In an alternate present, genetically enhanced humans dominate society. Outcasts Leon and Chloe fight for justice against corrupt politicians exploiting genetic disparity, risking everything to challenge the oppressive system.
Since the conclusion of the HARRY POTTER franchise in 2011, Tom Felton has consistently remained active in the industry. He has taken on a diverse array of roles, from major productions like “Rise of the Planet of the Apes” to television projects such as “Gandhi,” as well as independent films. In contrast to some of his former castmates, Felton has demonstrated a notable ability to secure new and varied work.
Regrettably, Felton’s latest effort, “Altered,” is a misstep—an unintentionally comedic film that fails to justify its brief 87-minute runtime. Despite Felton’s clear commitment to the material, his performance cannot salvage a project that falters on nearly every front.
Set in an alternate present after a devastating nuclear conflict, “Altered” imagines a world in which 90% of the population, known as Genetics, are genetically enhanced and live in luxury. The remaining 10%, called Specials, cannot be altered and are relegated to the margins of society. Felton portrays Leon, a Special living with paraplegia, who, together with his niece Chloe (Elizaveta Bugulova), infiltrates the Genesis Institute within the privileged Genetic District. There, they seek the Genesis Tree—a postwar phenomenon whose flowers have become the world’s primary energy source.
Leon and Chloe succeed in acquiring one such flower, and Leon uses its powers to aid other Specials. Their actions soon attract the attention of the Genesis Institute, prompting a desperate attempt to evade capture. Leon’s solution: harnessing the flower’s abilities to power a makeshift superhero suit in a final stand against the authorities. Whether his plan will succeed remains the film’s central question.
Unfortunately, “Altered” stumbles in nearly every respect. Aside from Felton, Richard Brake, and Aggy K. Adams, the cast is composed mainly of Russian actors, whose performances are undermined by conspicuous, awkward English dubbing. This artistic choice feels especially misplaced in a narrative that suggests a globalized population; allowing the actors to use their natural accents would have lent far more authenticity.
The action sequences fare no better. Fight scenes are poorly executed, with missed cues and unconvincing choreography throughout. The film’s only noteworthy element is Anton Bakarski’s cinematography, which is sharp and precise—though this clarity only serves to highlight the production’s numerous flaws.
Director Timo Vuorensola, whose previous credits include “Iron Sky,” “Iron Sky: The Coming Race,” and “Jeepers Creepers: Reborn,” brings little improvement to his body of work here. The film’s attempts to explain its convoluted premise only add to the confusion, and by the time the credits roll, most viewers will be relieved that the experience is over. One can only hope that a sequel is never considered; subjecting audiences to such a film would be an unnecessary cruelty.
Available on 4K Ultra HD™, Blu-ray™, and DVD January 20th
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