The film conjures a world that feels appropriately familiar yet somehow strange, with seemingly arbitrary details, the collapsing of years and collating of moments, the consequences of the future leaking back into the past.
In his five films, Perry has exclusively written irredeemably selfish characters, who opt to remain in their own comfort zones, yet he sustains a consistent empathy, never dismissing or torturing them. There is a Sisyphean desperation to their yearnings.
The current President, and former self-professed law-and-order candidate, seems to take his cues from the New York seventies vigilantism of Death Wish, as evidenced by his Executive Order on a Task Force on Crime Reduction and Public Safety.
Evolution is a serene film, one that exists in a state of twilight sedation, but beneath the surface something stirs, like the percolating uncertainty of a boy stricken with fever and confined to his bed.