(2015) Psychological Horror (Artsploitation) Lindsay Farris, Stephanie King, Brendan Cowell, John Jarratt, Benedict Hardie, Tom O’Sullivan, Roger Ward, Gabriel Dunn, Joseph Sims-Dennett, Ash Ricardo, Louisa Mignone. Directed by Joseph Sims-Dennett
Grief does some disturbing things to our perceptions. It changes how time reacts to us, making it stretch out interminably. It sometimes causes us to see things that aren’t there. It makes us feel as if we are dying ourselves – even though we aren’t. We just wish we were.
Parker (Farris) is a private detective, but he hasn’t been doing much detecting lately. His son passed away recently, and he has been devastated by it. His marriage has disintegrated because of it and he is deeply in debt due to his boy’s medical bills. He takes a surveillance job which involves staying in a derelict apartment, filled with garbage and barely inhabitable, and keeping an eye on Tenneal (King), a beautiful blonde girl who lives across the street. He taps her phone, sets up a camera pointing into her apartment (which she conveniently lives in without drapes) and sits back to observe.
At first things seem fairly normal but as the days go on it gets more sinister. Things begin to happen that Parker can’t explain. He becomes unnerved and contacts his employer (Cowell) to find out what to do if someone attacks the girl, but he is told to sit back and relax – just report what he sees. Parker agrees, but is getting more reluctant by the minute. If he didn’t need the money so badly, he’d be so out of there.
The visions begin to get worse. He finds animal corpses in disturbing places. A strange black fluid is leaking from just about everywhere, including from Parker himself. His dreams – or rather nightmares – are terrifying. He has a real fear that something terrible is about to happen, but he can’t bring himself to warn the girl – or leave. One way or another, things are going to play themselves out and when it’s all over, the results will not be pleasant.
This is a movie that plays with your perceptions. Unrelated images are inserted from time to time and the film shifts from black and white to color to a mixture of both seemingly at random. We’re meant to be getting into Parker’s mind and it is rapidly disintegrating. We see images of his child with the black goo pouring out of every orifice, and images of the sea pounding the shore – and of dead things in every nook and cranny. We’re never sure what’s real because he isn’t.
A movie like that requires a really strong lead and independent films, particularly micro-budgeted films like this one, can be really hit and miss with the actors that are available to them, but fortunately the filmmakers lucked out in Farris, who is a good find. Matinee idol handsome, he has a definite presence and while occasionally he errs on the side of scenery chewing for the most part he gives a subtle nuanced performance that bodes well for his big screen future.
There are some fairly disturbing images here and a few genuinely horrific ones but most of the horror will be inside your imagination and while that’s always a good thing for the most part, you may end up being somewhat perplexed at the barrage of images that seem to be there for their own sake rather than to serve the story or the film. Cinematic masturbation is what I call it, and there’s definitely some of that going on here.
This is an Aussie-made film which has to it’s advantage the reputation of Down Under as a hotbed for amazing horror film directors; this isn’t one of the better films to come out of there in recent years unless you like your horror on the surreal side. From that point of view, most mainstream horror movie fans aren’t going to like this much, and for that reason it’s getting a mediocre rating – but those who love cult films and don’t mind a little thought to go with their viscera will find this a worthy addition to their film library.
WHY RENT THIS: A movie that bears repeated viewings.
WHY RENT SOMETHING ELSE: May be a little too art house for the grindhouse crowd.
FAMILY VALUES: Some disturbing and occasionally bloody images, brief foul language and some sexual situations.
TRIVIAL PURSUIT: Released first in Australia, the movie is available there on iTunes. Exclusively available on Vimeo in the States (see below), it will expand to most VOD streaming platforms beginning in October.
NOTABLE DVD EXTRAS: The film is preceded by a three-minute preface.
BOX OFFICE PERFORMANCE: Not available.
SITES TO SEE: iTunes, Vimeo
COMPARISON SHOPPING: Rear Window
FINAL RATING: 6/10
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