In a dystopian future, families are only allowed to have one child. Any more are taken to cryosleep. But in the midst of their lives, seven sisters named after different days of the week escape the government’s wrath and live undercover as Karen Settman, the woman they have grown up to know as their mother.

Director Tommy Wirkola’s (Dead Snow) Netflix original movie is an odd hybrid of fugitives-on-the-run thriller and post-apocalyptic family drama. It squanders a creative premise in favor of rote gun-fu carnage, and its evocative, existential tone falls short of what it should have been.

Noomi Rapace stars as the septuplet Settman sisters, each named after a day of the week. Similar to Tatiana Maslany’s clones in “Orphan Black,” Rapace does an excellent job presenting each character’s individuality.

When Nicolette Cayman, head of the Child Allocation Bureau, finds out about the Settmans’ scheme, she demands that her underlings “take care” of them. The government snatching the Settmans’ plan represents a clear institutional failure, and the movie shape-shifts into a low-rent “Children of Men” meets “Blade Runner.”

After Thursday accidentally shoots Monday at a campaign fundraiser, Friday spies on Adrian’s computer to figure out more about his million dollar contract with Nicolette. She pairs her device with Adrian’s, which gives her access to the bureau’s network. She tries to track Tuesday, who’s held hostage by the Bureau, but she’s shot in the head and killed. Nicolette’s men then kill Saturday and Sunday, but they notice an eyeball in their arsenal, so they assume that it’s Tuesday, too.