(2020) Horror (Breaking Glass) Kayla Stanton, Michael Mitton, Don Knodel, Nathaniel Vossen, Dione Russell, Colm Hill, Destiny Millins, Kirsten Khorsand, Sheron Russell, Jayden Shannon, Craig Paynton, Graham Daley, Sarah Seibert. Directed by Michael Bafaro
Trauma can do strange things not just to the body but also to the mind. It can affect us in ways we can’t predict and maybe not even understand.
Amber Waltz (Stanton), who is aptly named due to her profession as a concert pianist and classical music composer, has lived through a severe trauma, having survived being stabbed by her ex Mark (Vossen) who then slit his own throat while she watched, horrified. Understandably, she had a bit of a breakdown after that and decided to leave Seattle where she was living and moves to an isolated farmhouse somewhere in the Pacific Northwest.
The house is lovely and secluded although it needs a lot of work, which is why she hires handyman Jim (Mitton) to fix things up. Soft-spoken and eager to please, he is a bit of a comforting presence for her, particularly since she starts to hear odd, unexplained noises while doors open and shut by themselves. At first she can chalk these things up to the uirks of an old house, but as she begins to see little girls where little girls shouldn’t be, and then has a highly erotic encounter with a bigger girl, and her symphony seems to be magically writing itself, Amber begins to wonder if the house is haunted. Then she wonders if she’s losing her mind. Finally, she wonders if something far more sinister – and deadly – is befalling her.
Early on, the movie has a lot of haunted house tropes that might lead one to believe that they are watching just another ghost movie, but the movie actually surprised me with the direction that it eventually went, whichis an accomplishment in and of itself. Those who stick around for the end (and I won’t kid you, it’s a bit of a slog getting there) may well congratulate themselves on having the fortitude to hang in there and those that do will be rewarded with a nifty ending, although I will say that Balfaro chooses to show you how the film arrived there in case you couldn’t figure it out – underestimating the intelligence of your audience is generally a bad thing. However, good endings are a lot more uncommon than you might think, so it’s always a big plus when you get one.
Balfaro does do a good job of establishing a tense atmosphere and generally resists using jump scares, although there are a couple because you almost have to have at least a few these days. However, the movie is torpedoed by two things: the dialogue, which sounds unnatural, and the acting which is by and large somewhat flat. The movie lacks energy and inertia, which is generally provided by the actors but whether they were struggling with dialogue which I can understand because it often sounds like stringing words together in ways normal people don’t, or they just didn’t feel motivated. Some of that can be laid at the feet of the director, but good actors will give memorable performances without the encouragement of a director. There is accountability to go around here.
And it really is a shame because there are a lot of good elements here, including some lovely cinematography and the unfailing politeness of the characters, although when you discover that this is a Canadian production, a light bulb might suddenly switch on, as it did for me. Sometimes, the right crew and actors coalesce to make magic happen, but sometimes just the opposite happens and this is, sadly, one of those occasions.
REASONS TO SEE: The ending is pretty inventive.
REASONS TO AVOID: Stiff and flat, rarely arouses any sort of feeling in the viewer.
FAMILY VALUES: There is some profanity, sexuality and nudity, horrific images and violence.
TRIVIAL PURSUIT: Stanton is no stranger to genre work, having appeared in the TV shows Supernatural and Lucifer.
BEYOND THE THEATER: Amazon, AppleTV, <a Google Play, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 4/9/21: Rotten Tomatoes: No score yet; Metacritic: No score yet.
COMPARISON SHOPPING: Kindred
FINAL RATING: 5.5/10