In “April X,” Connor Storrie takes on his first leading role in a film following his rise to fame from the TV series “Heated Rivalry.” Though it would be tempting to say he electrifies the screen, the reality is that his performance mirrors the film’s overall execution—capable but lacking in substance. As he channels elements reminiscent of Harrison Ford’s iconic portrayal in “Blade Runner,” Storrie navigates a somber narrative centered on human cloning and trafficking set in a bleak, dystopian world. However, with limited material to draw from, he often appears as an actor marking time until more compelling roles come his way. It’s understandable that “April X” seized the opportunity to capitalize on his newfound notoriety by securing a theatrical release, thus avoiding the fate of being relegated to a direct-to-video audience.
While devoted fans of Storrie may flock to theaters for this film, its overall impact is likely to fade quickly. The project is not a stain on his career, but it certainly does not stand out as a memorable addition either. For Michel K. Parandi, making his feature debut, “April X” serves as a crucial introduction, showcasing his resourcefulness as a filmmaker despite a limited budget. However, the screenplay—co-written with frequent collaborator Jack Coulter—fails to bring anything fresh to the table, piecing together plot elements borrowed from superior films to create a disjointed experience. It bears similarities to the recent release “Hot Spot,” which also explores themes of compromised identity in a near-future context, yet lacks the innovative charm that could elevate it.
The film lacks a specific year but depicts the worn-down concrete structures of outer Bucharest as a symbol of societal decay. While some high-tech drones add a glimpse of futurism, the technologies explored are less about polished advancements and more about the shadowy world of disheveled cloning and retro data devices used to capture dreams and memories.
Within this grim setting, we meet twins Baxter (Storrie) and April (played by Lilly Krug), who scrape by through dubious means. Baxter is involved in black market organ trafficking, while April possesses a rare talent for vivid dreaming. In a world devoid of such dreams, her gift becomes commodified, yet this intriguing aspect is regrettably underutilized as the film moves forward.
The narrative shifts focus to Baxter’s struggles as his illegal dealings entangle him with a local gang led by Klein (Serban Pavlu). When April mysteriously vanishes, Baxter embarks on a desperate search for her, which takes a sudden five-year leap into the future. Though the world remains largely unchanged, the characters’ evolution feels murky. April seemingly reemerges in various cloned forms as sex workers, raising questions about Baxter’s ability to reconnect with her essence through her captured memories—a central existential dilemma that lacks the engagement it deserves due to the characters’ underdeveloped portrayal.
Storrie persists through the trials with a determined expression and intense gaze, yet the film’s universe never fully embraces its potential. While the visuals, crafted by Nathan Haugaard’s cinematography and Oana Novicov’s production design, impress, “April X” ultimately lacks the intricate details that could engage the audience. The plot is sufficiently cohesive, but the ambiguity surrounding Baxter’s situation leaves us feeling disconnected. The picture sketches a dystopian reality that comes off as more mundane than harrowing, posing the troubling question of whether this is the future we should be most concerned about.
