REVIEW: ‘Arcadian’ Rises Above Genre Trappings With Outstanding Creature Design

A Nicolas Cage movie carries with it a certain expectation. Over-the-top screaming, usually a genre film, sometimes of dubious quality. At least, that’s what the popular conception was for a while. Thankfully, due to a legendary run of films, including Mandy, Pig, and Dream Scenario, Cage is finally getting full recognition for his outstanding approach to performance. Arcadian may not soar to the heights of those films, but it’s a sturdy action-horror in its own right. Premiering at the 2024 SXSW Film Festival, Arcadian beats some familiar trappings with an earnest tone and one of the most inspired creature designs in years.

Arcadian is set in a semi-post-apocalyptic world. The human race’s numbers have dwindled. During the day, tranquility prevails. At night, ravenous creatures terrorize everything in their path. Paul (Nicolas Cage) and his two sons Joseph (Jaeden Martell) and Thomas (Maxwell Jenkins) live in a old home they’ve converted into a de-facto compound. Joseph is Paul’s stalwart protector-in-training, doing whatever he can to prepare for the day when one day he’ll have to be the man of the house. Thomas is a bit more rebellious than Jaeden, working at the farm of a neighbor whose daughter (Sadie Soverall) he’s sweet on. Whenever Thomas doesn’t come back before sunset, Paul and Joseph venture to find him. This journey draws out more creatures, turning a search and rescue into a fight for survival.

The influences on Arcadian are clear from the jump, sometimes to its detriment. Director Ben Brewer and writer Michael Nilon ape a lot from the likes of A Quiet Place. The slow first act feels very “been there, done that” as the family unit begins to fall apart and the danger of the creatures looms. It’s not ineffective, nor does it move the needle at all. Nicolas Cage is surprisingly subtle as a father who balances being nurturing with a stern hand. Jaeden Martell and Maxwell Jenkins feel at first a bit like stock characters, although that’s more the fault of Nilon’s script than their performances. A major issue that comes about is low-lit cinematography from Frank Mobilio. It’s clearly a stylistic choice, but one that renders many scenes completely ineligible.

The cinematography gets better as the movie reveals more of the creatures. So does Arcadian as a whole. Not enough praise can be heaped on this film’s monsters. They’re an unholy mixture of jackal, bird, and humanoid. Moreover, they chomp their jaws at inhuman speeds. This creates a completely unnerving image, bolstered by an eardrum-busting sound effect. Oddly, it recalls the animatronics of Five Nights at Freddy’s. How these things function as a hive feels incredibly original. They can combine their bodies to form abominations of nature, notably a giant wheel of sorts. It may sound like I’m giving a lot away. However, I can assure you that seeing these things is a whole different beast than merely hearing about them.

With a tangible, terrifying threat set, Arcadian really comes into its own. The focus rests squarely on brothers Joseph and Thomas. The divide between them grows as their father’s fate looks uncertain, making them confront the reality that one day they’ll be all each other has. It’s a reality for siblings that sometimes you eventually grow apart. How does that play out after the world as we know it has ended? And what happens when your survival hinges on healing the divide between you? It’s strong thematic territory. Thomas, in particular, in his romance with Sadie Soverall’s character Charlotte builds a great coming-of-age thread.

As mentioned, Arcadian is hardly the most original film to debut at SXSW. No matter, it’s still a great version of a post-apocalyptic family coming together story bolstered by cheer-worthy creature design. At one point, a “Nicolas Cage movie” meant something to be (unfairly) meme-d on. Now, Arcadian helps in the solidification that Cage means quality.

Arcadian premiered as part of the 2024 SXSW film festival.