With more than 200 credits to his name—frequently portraying vampires or similar figures—esteemed German actor Udo Kier has appeared in both excellent and disappointing films; Bacurau, a misguided mashup reminiscent of A Sound of Thunder and The Most Dangerous Game, unfortunately falls into the latter category. The initial setup seemed somewhat promising. Tony Jr. (Thardelly Lima), the mayor of Sierra Verde, a municipality that includes Bacurau (whose name may or may not be a crude Portuguese term), has blocked the construction of a dam and placed it under armed guard. However, his motivations aren't particularly clear; while he’s campaigning for re-election, I doubt disrupting the water supply will win him many votes. For instance, when he visits Bacurau, the residents retreat into their homes and bombard him with insults, though they never resort to physical violence. It’s peculiar that these people are so impoverished that they accept food from Tony despite their animosity toward him, yet they all possess smartphones or tablets—otherwise, what would be the point of the town's Wi-Fi? So far, things were acceptable, I suppose. The situation truly deteriorates when a resident spots a “drone” flying with the awkwardness of Gazoo’s spaceship (the drone is obviously computer-generated until it supposedly lands and becomes a physical prop). This drone belongs to a group of foreigners led by Michael (Kier, who isn't playing a vampire this time). Their intention is to destroy the town—despite its already desolate state—by first eliminating the inhabitants and then completely erasing Bacurau from existence (or at least Google Maps), as if it and everyone in it had never existed. To support this, Michael states, “I have documents that prove we’re not here.” I'm genuinely curious about what kind of documentation that is and how precisely it functions. During that same exchange, someone mentions they exclusively use antique firearms, a detail that remains unexplained. My assumption is that the advanced technology utilized previously exhausted their budget for modern weaponry. One of the “hunters” expresses regret over another killing a child; presumably, their strategy was to eliminate all adults and leave the children to perish. It’s evident these aren't particularly intelligent adversaries. For example, they shut off the town’s power only to attack in full daylight. This lack of competence reflects that of the filmmakers, who take an idea that could potentially function as social commentary and transform it into a Brazilian version of Hard Target—or Perseguição Sem Tréguas, as it's known there.

Source on TMDB