Warhammer 40,000 may not have invented the Grimdark genre, as one could argue that writers like Michael Moorcock have been planting the seeds for these mean-spirited narratives as far back as the early 60s, but Games Workshop’s star IP sure as hell popularized it. After all, nothing explains the appeal of Grimdark media quite as succinctly as the franchise’s iconic tagline: “in the grim darkness of the far future, there is only war”.
That’s why it makes sense that Warhammer would go on to inspire countless other fictional universes besieged by endless conflict, with one of the most notable of these being Target Games’ Swedish RPG Mutant Chronicles. First published back in 1993, this tabletop setting (which followed WWII-inspired combatants in a dieselpunk future controlled by warring corporations fighting off a mutant apocalypse) would eventually spawn a larger franchise, including books, video games, and a successful line of miniatures. Naturally, this international success wouldn’t go unnoticed by Hollywood, and plans for a movie began as far back as 1995.
Unfortunately, as is often the case in showbiz, the stars simply didn’t align at the right moment, and it was only in the late 2000s that a cheaper version of the project would get off the ground years after the heyday of the once-popular franchise. However, while 2008’s Mutant Chronicles adaptation was originally released to scathing reviews and a pathetic box-office run, I’d argue that time has been kind to this unabashedly cheesy B-movie, which has slowly but surely been accumulating fans over the years as online audiences continue to search for Grimdark entertainment.
With that in mind, I think this is the perfect moment to look back on Simon Hunter’s Mutant Chronicles and try to understand why it’s connecting with more viewers now than back when it was originally released.
Funnily enough, the 90s version of Mutant Chronicles was initially to be directed by John Carpenter on a $40 million budget. Unfortunately, a series of dark sci-fi flops led to this blockbuster adaptation being shelved until producers decided to revise the project into something a little more market-friendly (complete with a G.I. Joe-inspired toy line and tie-in videogames). This lighter iteration of the film also fell through when the original producers went bankrupt, and it was only in 2005 that an independent version of the film was finally greenlit on a budget of $25 million.
Scottish filmmaker Simon Hunter actually created a standalone 7-minute teaser for the project in order to attract investors, with the director then enlisting Event Horizon alumni Phillip Eisner to write a full screenplay – with both artists being fans of the original tabletop game. Despite the heavily reduced budget, the movie still managed to attract plenty of recognizable talent. Not only would the flick be led by fan-favorite thespians Thomas Jane and Ron Perlman, but it would also boast special appearances by veterans like John Malkovich and even Event Horizon actor Sean Pertwee.
Mostly shot on studio lots in a manner similar to Zack Snyder’s visual-effects-heavy 300, Mutant Chronicles would finally get a limited theatrical release in Europe in 2008 before making its way onto VOD and home video in North America in 2009. In the finished film, we follow a diverse ensemble of soldiers from the 28th century (including Thomas Jane as the badass Sergeant Hunter) as they’re encouraged by religious leader Brother Samuel (Perlman) to set aside their differences and embark on a suicide mission to destroy an alien machine that turns wartime casualties into deadly mutants.
Even at a first glance, the premise here is already very reminiscent of classic role-playing campaigns (with the main conflict existing as an excuse to unite a party of diverse characters representing the world’s different factions against a common enemy), but it’s really the world-building that makes Mutant Chronicles such an enjoyable time despite the low production value.
I may not be a fan of the cheap visual effects and occasional digital blood splatters, but I appreciate how the entire thing feels aesthetically coherent and really sells the idea of a Grimdark future where the horrors of previous world wars have returned with a vengeance. From the vintage military outfits to cinematography clearly inspired by wartime period pieces, Hunter’s film manages to immerse viewers in a familiar yet nightmarish world even when it’s obvious that we’re looking at several layers of green screen composites.
Of course, it’s the cast that really brings the world of Mutant Chronicles to life, with Jane making for a predictably compelling leading man and Perlman being allowed to ham it up with a terribly inconsistent (yet incredibly entertaining) Scottish accent. As a bonus for die-hard fans, some of the film’s warriors – such as Max Steiner (Benno Fürmann) and Sergeant Hunter himself – had already appeared in previous Mutant Chronicles media before showing up in the movie. I’d also like to give a shout-out to Devon Aoki’s memorable performance, with the underrated actress really standing out as a badass soldier (and single mother) that you want to see succeed in this brutal mission.
While the excessive digital blood splatters and obnoxious color filters may feel a little dated, I’d argue that Mutant Chronicles more than makes up for its aesthetic flaws with good old-fashioned cinematography and clever blocking. Some of the shots here feel like comic-book panels come to life, and the monster effects are given plenty of time to shine.
Speaking of monsters, the mutants here feel like a combination of Tolkienesque Orcs and Romero-inspired zombies, with the unstoppable hordes actually being depicted as a legitimate threat rather than cannon fodder meant to make our heroes look good. I also appreciate how much of their carnage is brought to life through practical gore effects – though it would have been cool to see more variations on their warped design.
The Grimdark style of storytelling obviously isn’t for everyone, and I understand that some viewers might groan at over-the-top edgy moments like when Hunter shoots people mid-conversation or when random side characters experience gratuitous trauma just to help establish the flick’s dire mood, but this exaggerated mean streak is exactly what this genre is known for. In fact, Mutant Chronicles is one of the few movies to really commit to the Grimdark style, warts and all, and while this is likely why it was panned back in ’08, it’s also the reason why folks now remember it as a fun little homage to edgy tabletop games.
Sure, the movie could have used a couple more million dollars to build better sets and maybe finance a more thrilling finale, but if you’re a fan of the genre who’s willing to stomach bad effects in order to have a good time, you’ll find that Mutant Chronicles is a breath of fresh air in a world where even Warhammer has been toned down in order to appeal to a wider audience.
So if you’re ever in the mood for a monster movie that mixes the wartime thrills of Saving Private Ryan with tabletop RPG logic, I’d highly recommend checking out Mutant Chronicles!