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Stars: Byron Mann, Helena Mattsson, Robert Patrick
Director: Michael Winnick
Distributor: 101 Films

“Can we still track the subject?”

The latest from 101 Films sees Robert Patrick return to cybernetic sci-fi, with Hong Kong veteran Byron Mann leading the way as a super soldier of sorts.

Dark Asset opens with the tremendous trope of a deadly weapon – be it man or machine – turning on its supervisors and causing havoc. For what is an almost overly-recognisable occurrence, Dark Asset manages to defy all generic aspects, and present its opening with full-on engagement and excitement. Immediately, Byron Mann’s John looks like an immaculate badass. Robert Patrick’s Dr Cain on the other hand, knows that he’s f*cked up.

John, a former soldier fitted with a chip, now with the capability to have his actions controlled by his superiors, manages to overcome and surpass this level of control, and escapes from a secure lockdown facility. A deadly experiment is on the loose!

Rather than following up with your conventional, yet always enjoyable, cat and mouse spectacle, Dark Asset instead sees John venture out to a hotel where he crosses paths with Jane (Helena Mattsson), and they embark upon an Earth-shattering conversation fully equipped with flashbacks that, collectively with present time dialogue, gradually execute an exciting payoff.

Rather than pursuing all-out action, no matter how exciting that could have been, the direction of the film instead aims to articulate a dialogue-heavy character study, with high dependance on flashbacks. The issue, however, is that the flashbacks are not weighty or memorable enough to maintain a high quality or high quantity of excitement. Under the leadership of writer-director Michael Winnick, Dark Asset – be it great or gash – is an ambitious piece of filmmaking.

The slightly underwhelming and slightly unconventional mix does, however, offer Byron Mann an opportunity to present himself beyond his excellent physical capabilities, which is a difficult task at hand for any spectacle of physique . Sadly for Mann, Helena Mattsson’s Jane is a more dominant force within the conversation department, which dominates the majority of the film.

Ultimately, Dark Asset’s greatest assets are the beginning and ending of the film. A shame that both the initial excitement and quality displayed are never truly maintained nor replicated until the end.