Director Babak Payami is very fond of his languid, circular shots, taking in the side of someone's face, then the space beyond that face, and then, eventually, the face of someone else on the other side of the room - all done so slowly you're convinced that Payami has fallen asleep or gone on a spa break. You long for a CGI battle between alien vampires, or a nine-mile-long genetically modified snake. During one particularly lengthy study of a brick wall I felt like a dog abandoned outside a supermarket: surely I hadn't been entirely forgotten?