‘April X’ Review: Connor Storrie Delivers Competent but Uninspired Performance in Dystopian Sci-Fi

Although Connor Storrie arrives in “April X” as one of television’s hottest talents following his role in the series “Heated Rivalry,” this debut feature does little to showcase his range. The film adopts a grim, stoic tone reminiscent of “Blade Runner,” but ultimately feels like a missed opportunity, with Storrie appearing more like a working actor patiently waiting for a stronger script than a performer igniting the screen.

The project seems designed primarily to capitalize on Storrie’s recent surge in popularity, securing a theatrical release that might otherwise have landed it directly in the straight-to-video market. For writer-director Michel K. Parandi, this feature-length debut serves as a technical calling card, demonstrating resourcefulness on a tight budget. However, the screenplay, co-written with frequent collaborator Jack Coulter, relies heavily on borrowed elements from superior films, resulting in a murky and disengaging experience.

Shot in the brutalist housing blocks of outer Bucharest, the movie uses the present-day decay of the Romanian capital as a shorthand for a collapsing future. While hi-tech drones add minor futuristic flair to the exterior shots, the technology within the narrative is decidedly unglamorous. Human cloning occurs in shadowy, grime-covered settings, and memories are downloaded onto devices that look suspiciously retro.

The story follows twins Baxter, played by Storrie, and April, portrayed by German actress Lilly Krug. The siblings scrape by through illegal activities; Baxter traffics organs on the black market, while April possesses the rare ability to produce vivid, marketable dreams. Although the concept of selling dreams echoes the classic film “Strange Days,” the narrative frustratingly focuses on a single, dreary reality without fully exploring this fertile premise.

Conflict arises when Baxter’s criminal dealings anger a local gangster named Klein, played by Serban Pavlu. After April disappears, Baxter launches a desperate search. The narrative then jumps five years forward, revealing that April has seemingly been cloned into a series of identical sex workers. The film poses an existential question about whether Baxter can find his sister’s soul within these copies or through her recorded memories, yet the characters lack sufficient depth to make the audience invested in the outcome.

Storrie maintains a steely demeanor throughout, but the film’s world-building remains superficial. Cinematographer Nathan Haugaard and production designer Oana Novicov create an aesthetically pleasing backdrop, yet the story lacks the granular details necessary to make the dystopia feel real. Ultimately, “April X” presents a dystopian vision that is more dull than devastating, raising questions about whether such mediocrity might be the future we should truly fear.