Review Category: Movie

The ‘70s anime series Steel Jeeg found popularity in Italy, building a strong fanbase there. Superhero movies are massively popular in all corners of the globe. So it’s perhaps fitting that when it came time for Italy to do their own riff on the modern comic book movie it was Jeeg they turned to for its genesis, not Marvel or DC.

 

Enzo is a thief we meet when he escapes from a police pursuit into Rome’s Tiber river and straight into a barrel of something radioactively noxious that also imbues him with superpowers. Spiderman learned pretty quickly to take the whole great powers and great responsibility gig seriously. The problem here is Enzo isn’t a gauche, inherently good teenager but rather a pretty shitty guy, spending his days mired in petty theft, living in a porn-strewn flat. So of course when he figures out he’s now special, he does pretty shitty super things. As with most of these films there’s an epiphany of sorts that motivates the central character to choose to become something more than they were, something that represents an ideal to strive for. Here, when the vulnerable Alessia mistakes him for the hero of her favourite TV show (Jeeg), the misanthropic Enzo might finally find a reason to care.

 

That means at its core this is not too far out from the standard origin tale. But the makers of this Jeeg are at least determined to be somewhat different. There are not many superhero films that feature the hero discovering his powers to a soundtrack of enthusiastic endorsement by the ‘adult actress’ currently on his TV but you’ll find that here. As much as being influenced by the anime that inspired it and the recent decade plus of costume-clad heroes, it’s aware of Italy’s film heritage too. With a background of political unrest and concerns over crime, we get a setting that echoes the Poliziotteschi films from the ‘70s that proved popular helping make Enzo’s world feel gloomily real and very Italian. This arguably makes Enzo’s journey a much more hard fought one than the likes of Steve Rogers. Where Rogers desired to be hero, Enzo instead seems to be treading water in misery, someone heading in no direction but down…until destiny calls.

 

Overall, it’s too long at nearly two hours, and whatever seedy reality dressing you give it, the story is a familiar one. Still, along with great performances from the central duo of Santamaria and Pastorelli, and an agreeably hissable villain in Marinelli’s ‘the Gipsy’, there’s plenty of ideas and some nice directorial touches throughout and should you fancy a different but still hopeful take on the origin story there’s much to enjoy as well.

 

THEY CALL ME JEEG ROBOT (LO CHIAMAVANO JEEG ROBOT) / CERT: TBC / DIRECTOR: GABRIELE MAINETTI / SCREENPLAY: NICOLA GUAGLIANONE / STARRING: CLAUDIO SANTAMARIA, LUCA MARINELLI, ILENIA PASTORELLI / RELEASE DATE: UK RELEASE TBA

Without warning, blind student Wendy is chased from the university library by a mindless mob suddenly and inexplicably intent on assaulting her. On the way she encounters campus charmer Jack – seemingly the only other person unaffected – and the two seek refuge in Wendy’s nearby flat to try and figure out what to do next. However, things are not what they seem.

 

Like most short films, the less you know about what happens in Nutcracker before watching it the better. At first glance it appears to be another variation on a zombie apocalypse, but soon reveals itself to be far smarter and much more sinister than standard tales of survival against marauding undead hoards. The plot jumps back and forth in time, as the truth behind exactly what’s going on is made clear and people’s motivations are revealed, and the story has more than one twist woven into its brief length, including a deliciously warped riff on what the title refers to.

 

Along the way it offers several observations on human interaction, including people’s behaviour towards the vulnerable and the kind of things some believe they are justified in doing to others, along with commentary on the different ways in which men perceive women and a sly take on traditional gender roles (and those of horror movies in particular). Although Wendy might be blind she isn’t helpless, and several developments make you re-evaluate your assumption regarding exactly who the hero of the story is supposed to be.

 

A dark yet humorous tale of suspense, manipulation and romance, Nutcracker is many things at once, but they all blend together perfectly into a cohesive whole, resulting in a tale straightforward yet intricate that makes a brutal and memorable impact.

 

Check Out The Trailer Here.

 

NUTCRACKER / CERT: TBA / DIRECTOR & SCREENPLAY: BEN THOMPSON / STARRING: NATASHA STIVEN, BOSTON ALEXANDER, JAKE MCGARRY / RELEASE DATE: TBA

Walkmans and awesome mix tapes at the ready – Guardians of the Galaxy Volume 2 is out and it’s even louder than the first.

 

This time it’s a family affair for our favourite bunch of A-Holes; Quill/Starlord (Pratt), Gamora (Saldana), Drax (Bautista), Rocket (Cooper) and still cute, still Baby Groot (Vin Diesel).

 

Once again causing trouble on their adventures, The Guardians’ latest escapade sees them piss off a (literal) golden race called The Sovereign, led by the beautiful Ayesha (Elizabeth Debicki), who takes a wonderfully ‘80s arcade game approach to warfare. It’s down to the selfish behaviour of Rocket, as insecure and irresponsible as ever. Drax on the other hand seems to have lightened up a lot – laughing in nearly every scene and developing a love of practical jokes. As before, he’s the source for much of the comedy. Groot is, well, Groot, in case he hasn’t already told you.

 

Quill, more settled in his Starlord lifestyle, pines over Gamora and his mysterious, absent father, who just happens to be (SPOILER) – Snake Plissken! (Also known as Kurt Russell to some Earth mortals). After narrowly escaping The Sovereign, ‘rescuing’ Nebula (Gillan) from them, and crash-landing on a nearby planet, a long overdue and awkward family reunion occurs.

 

Elsewhere, Yondu’s (Rooker) ‘soft’ treatment of Starlord has caused some divisions amongst the Ravagers, with his leadership being challenged. It turns out he’s not popular with the rest of Reaver community either, especially Stakar (Stallone, whose brief presence manages to be surreal in an already surreal movie). Naturally it all links to Starlord’s backstory.

 

GOTG Vol. 2 has taken what worked from the original and stuffed the sequel full of it. Almost too much of it. While most of the time this works, it backfires too. There are one too many sentimental moments that end up being dangerously cheesy, something the first film managed to escape. The soundtrack – incredible as it is – also occasionally overwhelms the film rather than supports it.

 

The colourful kaleidoscope of CGI remains spectacular. In a Marvel universe already becoming dangerously overcrowded, Gunn successfully squeezes in a few new cult favourites. A feat for a director who, once again, appears to be having fun with the franchise by doing something different. And, much like Iron Man – that’s where Guardians greatest success lies – its originality. However, paradoxically this is difficult to maintain once it’s already been done. A few cameos at the end will be lost on non-diehard comic fans (who will also notice storylines borrowed and altered from elsewhere).

 

There are not one or two but FIVE post-credits scenes. Three are throwaway vignettes, one is a cameo-linked throwback (or throw forward?) for the diehards, and one introduces the antagonist in the next Guardians movie. And, of course, there’s Stan Lee.

 

While GOTG Vol. 2 doesn’t quite live up to the original (any space hipster will tell you the first album is always better man), it’s shamelessly cartoonish, operatic and Freudian.

 

You’ll hum “Escape and Spirit in the Sky” for days. You’ll remember Pac Man. You’ll remember Taserface. You’ll remember one of the greatest cameos of all time. And you’ll (probably) have more fun watching this than any other film this year.

 

GUARDIANS OF THE GALAXY VOL. 2 / CERT: 12A / DIRECTOR & SCREENPLAY: JAMES GUNN / STARRING: CHRIS PRATT, ZOE SALDANA, DAVE BAUTISTA, VIN DIESEL, BRADLEY COOPER, MICHAEL ROOKER, KAREN GILLAN, POM KLEMENTIEFF, KURT RUSSELL / RELEASE DATE: 28TH APRIL

Asylum Of Darkness is a long film. Okay, when there are behemoths way beyond two hours choking up valuable screening slots at your local multiplex, 117 minutes for an independent horror may not seem excessive. But when you finally reach the end of Asylum Of Darkness you’ll check your watch, and then check it again as you’ll be convinced you’ve spent longer in the company of this meandering, confused-by-design horror mystery.

 

Dwight (Baldasare) is a mental patient who, as you may suspect, believes he has been wrongly incarcerated. Subjected to mind-altering treatments and feeling persecuted by the strange, is-he-really-a doctor Dr. Shaker (Hatch), who occasionally appears without a face, Dwight escapes only to discover that life on the outside is even weirder.

 

Frustratingly surreal, Asylum Of Darkness feels akin to a series of disjointed, unconnected horror sketches accompanied by an endlessly overbearing soundtrack that refuses to allow you a moment to try and process what you’re watching. There is no doubt that writer, director and composer Jay Woelfel is a bold filmmaker, and there are moments in his creation that nostalgically reference the cinematic themes popular in films from the ‘70s and ‘80s. But instead of generating a retro-appeal that draws in an audience, Woelfel keeps his public firmly at arm’s length through a reluctance to allow even a modicum of empathy to be generated. So fiercely uncooperative is the narrative that it wilfully refuses to allow any engagement from the viewer, and as such you slowly lose the will to try.

 

The performances are very much in keeping with the plot, being wildly inconsistent – likely by design – and simply add to the confusion. Baldasare at least seems to be enjoying himself, and given he is on screen for virtually the full running time, he should be. Hatch appears truly baffled, as if he read the script, didn’t fully understand it but had a free week in his diary so, what the hell? Only Amanda Howell as wife / accomplice Ellen gives the impression of being fully aware what is going on, and hers is a performance in the best tradition of giallo.

 

It’s possible that Asylum Of Darkness is actually a clever homage to cinema of a bygone age, a tribute to a style of filmmaking no longer fashionable and a film that in years to come will be regarded with respectful fondness. Possible, but very, very unlikely.

 

ASYLUM OF DARKNESS / CERT: TBC / DIRECTOR & SCREENPLAY: JAY WOELFEL / STARRING: NICK BALDASARE, RICHARD HATCH, AMANDA HOWELL / RELEASE DATE: OUT NOW (USA); UK RELEASE DATE TBA

A self-aware soundtrack, a young couple driving the landscape via Shining-eye view and little kiddies rapping a skip-rope warning song just as strange cages on the houses are pointed out? With its heart, oddity and scruff-of-the-neck production values, Vanessa Ionta Wright’s Rainy Season is a smack on the nose example of Stephen King’s Dollar Baby project.

 

Dollar Babies, for the uninitiated, are films based on King’s short stories. Rather than being the big-bucks blockbuster affairs that come from his novels, King licences his content out for the princely sum of a dollar so that fan projects can become a reality.

 

Reality itself is joyfully strained in Rainy Season. It’s a good ode to Uncle Stevie at his snarky, blue-collar American best. The outsider couple need a place to stay over and must contend with the strange ways of the locals. The best thing by miles about this ‘baby’ is how generously the townsfolk, played by Kermit Rolison and Jan Nelson, are drawn. You can practically hear King’s written tics in old Henry’s (Kermit’s) reaction as the kids hone into view. Both he and Laura (Nelson) centre the heart of the story by making us care for the clueless folk, while emphasising that impending sense of doom. Yes, the dialogue and plot is telegraphed straight from Hell itself and yes it makes their delivery automatically camp, but this gives the caper a light shower of silly fun to start with. It’s vital as while Brian Ashton Smith and Anne-Marie Kennedy are reasonably believable as the young couple, they are at their best when they’re silent. More problematically, their contrasting appearances – her a delicate femme fatal and him with his badboy frames and funky facial hair – are so emphasised by claustrophobic close-up cam shots that they seem almost a little too modern for this very folksy yarn.

 

So, is it scary? Well, it does depart from the original story. The film adds an earnest unease as it dances around the young folks’ relationship with its Oscar period-piece style shadows and character-solitude shots. The atmospheric effects also evolve into a rather heavy orchestral over score, making it drama with a capital D as it teases whether the lovers will be put asunder by local lynch mobs or each other. While it sounds as much fun as a fight with killer foot fungus, it gives the story the gravitas seen in King’s longer work. Nevertheless, this is a King-inspired short and he does ‘em deliriously silly. When the mooning is over, we return to a colander of Constant Reader-ready references, paranoia and pottyness. There’s also just enough blood to get the juices going without breaking the SFX budget or trying to plumb the depths for something best left in the mind’s eye.

 

While Rainy Season eschews the original story’s outright bizarreness, its jarring tone adds a winning sense of surrealism and that all-important, calm-after-the-storm money shot. You’ll want to see, as old Kermit does, if the couple croak…..

 

RAINY SEASON / CERT: TBC / DIRECTOR & SCREENPLAY: VANESSA IONTA WRIGHT / STARRING: BRIAN ASHTON SMITH, ANNE-MARIE KENNEDY, KERMIT ROLISON, JAN NELSON / RELEASE DATE: OUT NOW (USA); UK RELEASE DATE TBA

The cover art for Beacon Point proudly displays a Star Wars-esque spaceship and three spindly-limbed alien types looking as menacing as possible. With an ancient totem atop a flaming mountain you would be forgiven for expecting a Close Encounters Of The Third Kind meets X-Files crossover with thrillingly balanced chills and excitement. “They have been watching…now they are here” boasts the tagline. Perhaps “Stereotypical group head off for cliché-ridden adventure stalked by largely absent, formulaic alien presence” would have been more appropriate. At least the setting is interesting to look at.

In fairness, the Appalachian Mountain location is the most impressive thing about Beacon Point. The dense forests and craggy vistas determine this to be a wild and isolated place; somewhere befitting to a spate of mysterious disappearances, and somewhere those with a dark past can go to lose themselves. One such person is trail guide Drake Jacobs (Briddell) who leads one last group up into the mountains to avoid the discovery of his predictable history. In this final group, there is a millionaire techie out to discover himself, two previously estranged brothers and Zoe (Olivier), a young woman determined to trek into the mountains for her own sentimental reasons. So far, so familiar.

If writer and director Eric Blue did set out to tick off all the relevant alien abduction boxes he manages it with impressive commitment, but in doing so fails to generate any level of homage-laden interest. The narrative lurches from one disconnected set piece to the next, without any real thought as to the How? What? or Why? Required to maintain an audience’s interest. A flicker of a flashback here, a glimpse of an alien there – one paltry glimpse! – does not a horror film make, and only at the end do those questions arise as a noticeable lack of coherent explanation renders the plot unsatisfactorily ambiguous.

Much of the frustration comes from the realisation Blue has the natural eye of a true director, and an inherent understanding of where to position his camera. Visually impressive, Beacon Point is at its best when the striking scenery takes centre stage, and in quieter moments when the cast amble through the wild beauty of the Appalachians.

In hindsight, Beacon Point feels more like a coming of age drama with a peripheral alien presence than an outright chiller. That being the case, much more character development was required to create those an audience might just care about. Could, and perhaps should, have been so much better.

BEACON POINT / CERT: 15 / DIRECTOR & SCREENPLAY: ERIC BLUE / STARRING: JON BRIDDELL, RAE OLIVIER, ERIC GOINS / RELEASE DATE: UK RELEASE TBA

Arriving on a rather desolate, off-season Greek island, podgy doctor Kostis (Efthymis Papadimitriou) settles into the daily mundanity of treating aching backs and excessive ouzo consumption. Until summer arrives, and with it come the tourists. Soon, the once grey and dreary island is heaving with hedonistic holidaymakers, and Kostis becomes increasingly enamoured with one young lady in particular.

 

Billed as a coming-of-middle-age film Suntan is not quite as squirm-inducingly creepy as it initially promises to be, and considerably more sympathetic than you might expect. At first reluctant to embrace the transient population’s partying, Kostis becomes bewitched by the 21-year old Anna (Elli Tringou), when a motorcycle accident brings her to his clinic. Joining her free-loving, free drinking, energetic group Kostis’ fascination slowly turns to unrequited love, and ultimately obsession before a series of humiliations bring an end to their very one-sided relationship.

 

Not quite as bleak and malevolent as many films emerging from what is occasionally dubbed New Greek Cinema, Argyris Papadimitropoulos’ film concentrates on the growing gulf between youth and the perceived old, rather than on the darker side of the central relationship. Any character beyond their twenties is portrayed as desperate, clinging to moments of joy amidst hollow lives destined for inevitable sadness. Only Kostis is granted a modicum of sympathy. Papadimitriou lays his character bare, often literally, as weaknesses and flaws so familiar to many of us are exposed with awkward, tragic scrutiny. His is a compelling performance, matched by Tringou’s exuberant, carefree sensibility that Kostis desperately wants to understand, yet predictably fails to do so.

 

As the narrative develops, and Kostis’ disregard for his responsibilities as a doctor begin to have consequences, the film reaches something of a crunch point. Conventional dramatic wisdom would have the story take a macabre turn, but you always have the notion that Kostis is more victim than perpetrator. Anna and her friend’s acceptance of him always feels more pitiful than genuine, emphasising the distinction in ages, and Papadimitropoulos’ decision to allow Kostis to retain some scrap of humanity and pride leaves the film firmly ensconced in reality. The troubles Kostis creates for himself, and the ill-judged decisions he makes are no less unpleasant because of this, and if anything, resonate so much more.

 

Beautifully shot throughout by Christos Karamanis, with an opening shot of Kostis’ arrival on the island a stand out, Suntan is an uncomfortably interesting watch. Superb central performances, and with a director who understands exactly when to look, and just as importantly when to look away, Suntan is film to be sought out.

 

SUNTAN / CERT: 15 / DIRECTOR: ARGYRIS PAPADIMITROPOULOS / SCREENPLAY: ARGYRIS PAPADIMITROPOULOS, SYLLAS TZOUMERKAS / STARRING: EFTHYMIS PAPADIMITRIOU, ELLI TRINGOU / RELEASE DATE: 28TH APRIL

It’s clear from the opening stretch of Sweet, Sweet Lonely Girl that this is a film with no qualms about showing its influences. It is a film in love with the American gothic of the 1970s, movies like Burnt Offerings along with many of the chilly, autumnal cinematic hauntings that decade produced. There’s also more than a hint of the European horror of those years and many more films that tell of dark deeds in creepy houses and long-buried secrets that bring their wickedness into the present. These days there’s plenty of films presenting homage to the decades that influence them and little more than that. Fortunately there’s more to this Lonely tale.

 

Adele is a young woman living an uneasy life with her mother and her mother’s grubby partner, escaping only through music and headphones. When an opportunity comes to act as a live-in carer for her reclusive (and rich) aunt, Adele takes it. The aunt, Dora, spends all of her time in her room and bar the odd uttered sentence communicates mostly in hand written notes. It initially seems like Adele has traded one form of loneliness for another until she makes a friend in Beth. Beth is beautiful, impulsive and uninhibited – everything Adele feels she is not. As they spend more time together the friendship becomes very intense very quickly, especially for Adele. But it isn’t destined to last and the consequences of this will be devastating for Adele, as madness and horror lie ahead of her.

 

Let’s be clear, many people will find Lonely more than a little frustrating. It’s a slight story, which seemingly puts visuals and atmosphere above narrative coherency and logic. The ending will probably irritate a lot of people, coming so abruptly as it does. And yet, we loved it. Sure, it’s not a perfect film. It doesn’t do anything new with those influences, and it is in some ways too restrained, feeling like it could have let loose at points where it chooses to remain tightly wound. It arguably could have spent more time with its characters at just 75 minutes. But there’s also much to praise.

 

Writer and director A.D. Calvo gets that atmosphere mostly spot on. It’s certainly reminiscent of other films but manages to be its own compelling thing too. The focus on mainly just the two leads is rewarded with excellent performances by Erin Wilhelmi and Quinn Shephard.

 

Calvo also manages to insert some striking visuals here and there, which hark back to those inspirations in the best way. Whilst it certainly won’t be to everyone’s tastes, we enjoyed this twisted little meditation on loneliness reaching beyond death, and recommend you give it a try.

 

SWEET, SWEET LONELY GIRL / CERT: 15 / DIRECTOR & SCREENPLAY: A.D. CALVO / STARRING: ERIN WILHELMI, QUINN SHEPHARD, SUSAN KELLERMANN / RELEASE DATE: UK RELEASE DATE TBA

Now, we know that many of you scroll to the bottom of a review and look straight at the score and that equally as many of you are likely as sickened by this review score as you are the inevitable prospect of the oncoming billion dollar crossing success of this latest film in the ever-expanding Fast and Furious franchise but we ask you, what does one reasonably expect from a F&F movie? If you want your entertainment to be intellectually stimulating or grounded in realism, then why on earth are you even reading this? If, however, you are wondering if this latest outing in the pedal to the metal series follows the trend set by 2011’s Fast Five of abandoning the past approaches and embracing the silliness, then rejoice ye fans of vehicular mayhem, as Fast and Furious 8 (also known as The Fate of the Furious) does exactly what it says on the tin.

Hot on tracks of Furious 7, this film catches up with the team, who have become a family over their wars and battles together, however everything is about to be turned upside down when the unthinkable occurs and Dominic Toretto (Vin Diesel) turns his back on his friends and family and joins forces with cyber terrorist Cipher (Charlize Theron), which compels the stunned group to make some unlikely alliances of their own. Chris Morgan’s screenplay in many ways must be applauded for its gall in targeting Craig-era narrative Bond thrills, whilst also filling the screen with stunts so gravity and logic defying they’ll give scientists a headache. It ain’t high art (see the odd editing mis-cue, some dodgy dialogue and Vin Diesel’s at times unintelligible drawl) but damn it this blockbuster beef jerky knows how to satisfy that hidden urge for high speed car crash entertainment.

 

The special effects are fine (if less polished than most $250 million movies!) but the joy of this formula is in the knowing delivery of its barmy set pieces that are bigger than ever here. As the years pass, each entry thrives on going bigger and crazier, and those critics tearing the film apart for its largeness are arguably as baffling in their criticism as those marking the film down for being all about muscular guys and gals in muscle cars. It is what it is and knows what the audience wants. Straight Outta Compton’s F. Gary Gray directs a big name cast doing ludicrous things behind a wheel and he does it with audacious blowy uppy flair avoiding the incomprehensibility of some action scenes in Bay’s Transformers movies.

 

However the biggest joy one takes from this metal crunching carnage is in seeing the cast loving every minute in their parts. Slowly but surely Diesel’s Dominic Toretto has become one of the series’ more bland characters and here they at least make his “family” schtick mean something more, however once again it is the surrounding gang who excel and excite more. At this point Dwayne Johnson is this franchise and, as human tank Agent Hobbs, is the charismatic macho hero that has immediate sparkle with all his co-stars. Tyrese Gibson is consistently funny as Roman, while Chris ‘Ludacris’ Bridges and Nathalie Emmanuel as Tej and Ramsay are less showy but effective, just like franchise regular Michelle Rodriguez who does what she does once again as Dom’s wife Letty.

 

No doubting though, this is Statham and Theron’s show, The Stath showcases his under-appreciated onscreen comic click (showcased to the max in Paul Feig’s Spy) as he returns as Deckard Shaw. A climatic airplane action scene alone shows why Statham is a modern action icon with legitimate screen presence. Meanwhile Theron drips venom as the intelligent, malicious and near unstoppable villain Cipher, complete with a knockout plan and some dark philosophies. In fact ass kicking ladies are fast becoming the MO of this series and it is once again the case here (hell, an early scene sees Hobbs threaten to unleash his daughter’s school football team on a fellow agent), especially as a big name Oscar winning actress relishes a surprise turn in the film that is so mad it is like a hilarious meeting of The Godfather and Eastenders.

 

All in all, Fast and Furious 8 is ridiculously large and largely ridiculous and it sure as hell knows it and it’s to this series’ credit that it continues to successfully exceed the boundaries of its own preposterous enjoyment.

 

FAST & FURIOUS 8 / CERT: 12A / DIRECTOR: F. GARY GRAY / SCREENPLAY: CHRIS MORGAN / STARRING: VIN DIESEL, DWAYNE JOHNSON, MICHELLE RODRIGUEZ, JASON STATHAM, CHARLIZE THERON, TYRESE GIBSON, CHRIS ‘LUDACRIS’ BRIDGES / RELEASE DATE: OUT NOW

Expected Rating: 7/10

Actual Rating:

If you hear the words occult, ritual and demon associated with a film billed as a horror, you would understandably harbour certain genre expectations. A few pentangles, a reasonable amount of nudity (demons always seem to like naked disciples, don’t they?), and plenty of blood-letting all thrown together under a maelstrom of indecipherable chanting and screaming. But for his debut feature, Liam Gavin has stripped the occult theme right back to create a bleakly stylish, slow-burning drama that tentatively creeps up on you from behind, before burrowing deep under your skin.

 

As a premise, A Dark Song is simple. Sophia (Catherine Walker) is deeply troubled by something in her past; so troubled in fact that she feels compelled to seek the assistance of rough-and-ready occultist Joseph (Steve Oram). Isolated manor house rented, the pair seal themselves in for months of ritualistic acts that will hopefully allow Sophia to contact her guardian angel, and pose a single, important question. Only, of course, it just isn’t that straightforward and despite the insistence of Joseph that they must always be truthful with each other, there are many secrets to be revealed.

 

This is a film concerned entirely with performance and mood. Walker is darkly enchanting as the vulnerable, yet determined, Sophia who hopes blindly that the rituals will work, despite her growing reticence. She is prepared to suffer all manner of indignities and punishments meted out by the arrogant, bullying Joseph in order to reach her goal. In those moments, Oram edges towards psychopathic, as his obsession with the subject often overshadows his abilities, as Joseph creeps closer and closer to unlikeable and unsympathetic. Both Walker and Oram are impressive, but it is the direction from Gavin that draws these performances, and sets the tone around them.

 

A Dark Song belies Gavin’s inexperience as a feature director, as he expertly draws the audience in to the nightmare of his protagonist’s situation, while teasing reveals so delicately as to be barely noticeable. Instead of frustrating, this lack of knowledge keeps you beguiled by intrigue as the foremost emotion you experience is suspicion of the two leads. Dark corners exist everywhere, and you strain to see in to the shadows hoping they will give up their secrets. When Gavin finally does begin to deliver the payoffs, they are horrific, wildly unexpected, and potentially divisive. It is a finale that may prove unsatisfactory for many, but it is one that you will remember, and even when you’re presented with all the information you can’t help suspecting there is more to the story.

 

When so many first-time filmmakers strive for the shocking and bluntly scary to make their mark, Gavin has opted for restraint and reflection. A Dark Song is uncomfortably atmospheric, a film that sucks the warmth from a room leaving you chilled and on edge. It is a dark, artful film set against an even darker canvass, and one that is worth seeking out from a director to watch.

 

A DARK SONG / CERT: 15 / DIRECTOR & SCREENPLAY: LIAM GAVIN / STARRING: STEVE ORAM, CATHERINE WALKER, SUSAN LOUGHNANE / RELEASE DATE: APRIL 7TH