A.I. terminates their dependency from its creators and war has ravaged mankind as armed to the teeth, towering tripod machines and maneuverable mechanical air vessels are locked onto a search and destroy mode, targeting all human life.  To avoid and evade detection, survivors must keep quiet as the machines hunt by sound and use the limited technology available to protect themselves.  That’s how one military combat soldier has been surviving after deserting his overran and decimated post before bumping into enraged civilian resistance fighter who’s determined to strike back with a fatal blow in a heavy causality and seemingly unwinnable war against the merciless machines.  When the civilian determines a way to stop the machines with a salvaged nuclear device, the deserter must decide whether to keep meagerly living in the shadows or sacrifice everything for humanity.

“The Terminator” meets “A Quiet Place” meets “War of the Worlds” in this German produced independent science-fiction battlefront thriller, “A New World Order,” as the Berlin born Daniel Raboldt ‘s first feature length directorial.  Raboldt pens an action heavy story with only two lines of dialogue alongside fellow short film partner, Thomas Franzen, following their developments of satirical and puppeteer-propped comedies of the web series “Tubeheads” and their short film “Furple Reign,” with Raboldt having been in the writer-director chair for both and Franzen as part of the crew on both projects with a role in the art department and constructing cinematographically shots as DoP.  Alternatively known more worldwide by the original title, “A Living Dog,” as I assume in the idiomatic expression of a dog’s life of sorrow and hunger, the Finland shot “A New World Order” is a production of Raboldt and Franzen’s Nocturnus Film that was funded by a Kickstarter campaign which raised over €12,085 by patrons from its €10,000 goal.

With just over €12,000, pocket change like that can’t afford you megastars Tom Cruise or Emily Blunt, but can buy superb unknowns with heart in their lead roles.  Such as the case with Stefan Ebel and Siri Nase as Tomazs and Lilja, two unlike survivors of machine dominated cataclysm with distinct positions on where they stand in their war-torn world.  There’s no short change in performances that warrant Ebel and Nase to feign the presence of large and looming cybernetic tripods that vaporize humans to dust upon sound.  “A New World Order” seems gimmicky with the absence of dialogue, but I think it’s more tricky to act against a computer generated special effect, much like Emily Blunt and John Krasinski’s inventive terror playing against actors or stuntmen in motion capturing suits.  Raboldt and his team more than likely did not have access to or have funds for motion capturing suits.  Instead, the actors engaged imagination, creativity, and relied on their experience and training, such stage crafting from Theater der Keller in Cologne where Siri Nase performed from 2007 to 2011.  Ebel makes his on screen debut by diving into the complexed Tomasz, a deserter just trying to survive over top anything else, and Tomasz comes across pitched perfectly desperate and paranoid while being borderline selfish with a sheathed good nature heart lying in wait.  Aside from bit roles of human refugees and characters in flashbacks, the two leads embody the entire cast list.  

“A New World Order” derives and parallels from a variety of iconic Sci-Fi cinematic inspirations, but at the core, Raboldt courses a theme of repelling human behavioral reactions toward a major calamitic event and threat through the current wartime arterial capillaries, unclogging the blockage between Tomasz’s tail between his leg survival approach and Lilja’s reckless desperation to destroy the machines on her own to form a unity of calculated patience to not only stab revenge into the soulless machines, but also maybe, just maybe, live through obliteration.  Yet, Raboldt misses the mark slightly by having too late the characters circle back and fix what’s broken with themselves, leaving mere morsels to mend before one character’s arc ends before it can even fully begin.  There’s also the no dialogue gimmick/aspect/touch, whatever is your opinion to label it, that fails to naturally flourish because unlike “A Quiet Place” where “A New World Order” only indulges the more character-driven drama, the fiery back and forth dogfight delivers empty promises due to budget constraints, resembling more along the lines of Gareth Edwards’ “Monsters” in its distant tone with a delimited appearance, but with a film that has nearly no dialogue, the action should be guaranteed in your face, heart-racing, and on the edge of your seat to compensate. “A New World Order” whittles down the hero concept, peeling off the rotten layers that make us weak and defenseless alone, to unearth the perfect kill switch on the machines to save Earth for humanity.

Don’t speak if you want to live in “A New World Order” now on DVD home video from Reel 2 Reel Films (R2R) in the UK. The Region 2, PAL encoded, DVD5 presents the film in an anamorphic widescreen 2:40:1 aspect ratio under a 15 rating for strong violence and bloody images. The violence is more the lasers vaporizing people to smoke in Thomas Franzen’s landscape assemblage of Finland foliage that becomes the base layer to Raboldt and his visual effects crew CGI monstrosities and rotoscoping composites that make “A New World Order” feel like a science fiction graphic novel. Blacks are starkly deep, but there’s no awestriking visual pops to really juxtapose with in a bleak color reduction to reflect bleak war. Details are not spectacular in this 720p format, but do the job in reality rather than in a rotoscope flashback. The English Language Dolby Digital stereo AC3, surround sound 5.1 mix, can kick hard when lulls in the character stories are because the kill bots has made audible contact and “A New World Order” is a LFE machine, pun intended, as the nuts and bolts hunters blare in vast quantities their resonating automaton bellow. Since this is a DVD5 with a feature running at 94 minutes, there is no room for special features to speak to, leaving just the antistatic menu and a white snapper case. “A New World Order” is a big concept on a little budget, but for director Daniel Raboldt, a new world spawns a man versus machine campaign from inspirational passions and ideas into understanding which innate reaction is an internal struggle to embrace with all that you have or to die by with little you have left.