As the latest addition to the Cronenberg cinematic family tree, Caitlin Cronenberg's directorial debut in "Humane," featuring Jay Baruchel, Peter Gallagher, and Emily Hampshire, poses a premise that is both clever and unsettling. Envisaging a world where climate change and overpopulation have led to enforced euthanasia, "Humane" intrigues but falls short of its potential, with the narrative becoming lost amidst implausible character decisions and an uninspired visual style.

Set within a single day, the action unfolds in the lavish residence of ex-news anchor Charles York (Peter Gallagher), who amidst global crisis, discloses his decision of voluntary euthanasia to his family. The tense family reunion turned crisis meeting takes a disastrous turn when a mishap forces the selection of another member for euthanasia, sparking arguments rooted in longstanding familial conflicts.

While offering provoking discussions on privilege and societal responsibility, "Humane" often skims over such complexities, leaving audiences wanting a deeper exploration. Baruchel's performance does stand out, as a character seemingly thriving in a dystopian world, showcasing poignant insights regarding survival.

However, the lack of depth in character development, especially in the depiction of the remaining York children, considerably undermines the dynamic storytelling the single-setting film tries to achieve. Similarly, the film's visuals, though occasionally diverging into more impactful and intense close-ups, mostly appears as too dimly-lit or overwhelmingly bright, lacking the engaging visual language necessary for a narrative of this nature.

Despite its shortcomings, "Humane" does carry little parcels of entertainment scattered irregularly throughout, subtly offering a COVID allegory in the depiction of a patriarch profiting from misinformation. However, perceived as a concept rather than its actual execution, the film ultimately depicts an intriguing narrative in a disappointingly lackluster fashion.