The end of the world is near–at least a cultist pastor (Chris Dettone) believes it to be so. With him is a woman, Eden (Brandi Botkin)–held captive, nearing her end as well. The two discuss the end of the world, what it means for them, and how they can avoid their demise. The pastor promises that there is a Zero Percent chance that Eden escapes–but she plots nonetheless.
The set is everything to Zero Percent. It allows the film to come to life in ways that wouldn’t be possible had the set not been perfect. As Eden sits in the basement, struggling with survival and torture at the hands of her captor, the barren walls, desolate floor, and overall dry and bleak tones that surround her heighten the intensity of every second of the film–elevating it to new, brilliant levels. There’s something incredibly visceral about the set design, almost like I could feel the cold floor on which Eden laid. Zero Percent uses these visuals to drive the film and its story forward, to entice viewers every step of the way, Zero Percent is wonderful all the way around–but nothing is better than the set.
The weight that the name Eden holds is massive, and it plays a pivotal role in creating juxtaposition and hope throughout the course of Zero Percent. This is one of the brilliant things about Zero Percent, about what Writer-Director J.W. Cox brings to the table. His ability to create something special by just using a name is massive, as it allows viewers to connect to the content–but it also strengthens that content, making it more accessible and beautiful. One name does so much for the film, it does so much to propel it forward–and as the stunning name plays up against the dirty, uninhabitable basement, Zero Percent tightens its grasp on viewers, refusing to let them look away.
I’m not sure that the casting of Dettone and Botkin could have been better. They not only look the part, but their collective ability to convey emotion, to drive the film forward, and to tell a story is astounding. Dettone possesses a demeanor that intimidates; his facial expressions match those of a vagabond that passersby would try to avoid–and, yet, there is something about him that is kind. His ability to manipulate his facial features and expressions to reflect to the tone of the film, and yet remain mysterious, isn’t something that everyone is capable of, and it’s something that Zero Percent can’t do without
Botkin is the same. Surely chosen for a combination of her good looks and her impeccable talent, she fills the space in the room with great aplomb. She is often the center of attention, the focus of Zero Percent–and she’s often tasked with bringing most of the emotion to life. She’s perfect. Just a little bit weird, attractive, passionate, and more–she leads when she needs to, and she’s supportive when it’s necessary. She works so wonderfully well with Dettone–and the two develop emotion incredibly well.
Zero Percent is incredible. It’s full of passion from the opening moments, and that passion transcends the entirety of the production–often brought to life by Botkin and Dettone, but ultimately driven home by the set. Zero Percent feels like a production with a massive budget–as it succeeds every step of the way.
Written & Directed by J.W. Cox.
Starring Brandi Botkin, Chris Dettone, & Kennedy Hancock.
⭐⭐⭐⭐⭐⭐⭐⭐⭐/10
