A Miniature Satirical Space Odyssey

Since Jack Finney’s “The Body Snatchers” surfaced 70 years ago, countless adaptations have emerged, set in various locations from small-town USA to military bases and beyond. Each shared a common theme: humanity infiltrated by shape-shifting entities from outer space. Zach Clark’s “The Becomers” introduces a fresh spin on this narrative. This time, the body-hopping aliens do not seek conquest; they just want to coexist peacefully. However, they soon find that Earth and its inhabitants might be too complicated for their liking.

This concept sets the stage for the kind of subtle, deadpan absurdity Clark aims for. Despite its promising premise, this episodic storyline lacks the engaging darkly comic charm seen in Clark’s earlier films like “Little Sister” and “White Reindeer.” A quirky tale that fails to reach any substantial conclusion, “The Becomers” is mildly entertaining as a sci-fi, spoof, and sociopolitical satire. Though offbeat enough to catch the eye, it ultimately feels undeveloped and does not fully reward the viewer’s attention.

Russell Mael, from the iconic band Sparks, narrates the story. He introduces us to a nameless, genderless alien protagonist and their lover, hailing from a dying planet. This pair is selected for evacuation and travels through space in separate pods.

The narrator lands in a forested area of Illinois, where pink smoke from the crashed spacecraft attracts a hunter (Conrad Dean). Unfortunately for him, he becomes the first human host. The alien, clad in his body, stumbles upon a woman in distress (Isabel Alamin’s Francesca) about to give birth. The sight of glowing aquamarine eyes alarms her, making her the next vessel.

As “Francesca,” the alien checks into a Motel 6, learning human language and culture via TV, albeit a spoof of Fox News. Things take a turn when the police start searching for “her” and the motel’s front desk clerk, Gene (Frank V. Ross), becomes overly curious.

Forced to escape again, the alien hitches a ride from a suburban housewife (Molly Plunk) and takes over her body and home. This choice proves unwise as Carol and her husband, Gordon (Mike Lopez), are not just devout Christians but also conspiracy theorists involved in a criminal plot they believe will take down a “devil-worshipping elite.”

Our protagonist’s lover, a fellow neon-pink-eyed changeling, appears in different human forms (initially a bus driver played by Jacquelyn Haas). Trying to lay low, they quickly get entangled in a complex intrigue involving the Governor (Keith Kelly), the FBI, and national media.

The idea of aliens fleeing to Earth, only to become embroiled in the bizarre extremities of modern politics, has immense potential. Yet, “The Becomers” never reaches the comedic or critical heights needed to fully realize this concept. Unlike John Sayles’ “Brother From Another Planet,” this film lacks warmth and a central performance as compelling as Joe Morton’s, making the quirky humor feel half-baked.

The film’s identity-swapping premise keeps it somewhat engaging, but it fails to leave a lasting impression. The intended emotional depth of the extraterrestrial lovers’ plight doesn’t resonate, and the social commentary falls short of its promise. While competently acted and crafted, “The Becomers” is a clever idea that seems unfinished by the film’s end.

Dark Star Pictures released the Chicago-shot indie at NYC’s Cinema Village over the weekend, with more city screenings ahead and an On Demand launch set for Sept. 24.

Source: Dark Star Pictures, Yellow Veil Pictures