(2019) Thriller (Cinedigm) Hope Raymond, Eliza Bolvin, Brian Smick, Zachary Cowan, Valerie Fachman, Hans Probst, Ashley Raggs, Mioyoko Sakatani, Perry Fenton, Vicky Lopez, Mira Gutoff, Hunter Ridenour, George Arana, Jaime Soltys, Tony Clark, Wendy Taylor, Wendy Wyatt-Mair, Trevor Ossian Cameron, Malachi Maynard, Ethan Fry, Amber Tiana, Celina Garcia. Directed by Scott J. Ramsey
There are movies that exist in a larger universe, whether it be a shared cinematic universe like Marvel or the Friday the 13th franchise, or in our own reality. Then there are other movies that seem to exist in their own space, separate from what we know and understand. They create their own reality – that’s not necessarily a bad thing, by the way. It’s not necessarily a good thing, either.
In a beautiful mansion on the rugged Central California coast, a monthly masquerade ball for charity is about to take place. Run by a group called the Foundation (which is also the name of the production company for this and other films, something that might feel a bit uppity to some), the privacy and security of those attending are taken very seriously. The ball is by invitation only. Everyone is required to wear masks and I’m not talking the kind that the CDC recommends. Nobody is allowed to use their own names – they’re all assigned letter-and-number code names, like B7 or G8. I’m not sure if this makes them sound like spies or bingo numbers.
The grand muckety-muck of the Foundation is Christian (Raymond), also known as the Queen, and she and a select few realize that the charity ball is just a pretense; once the checkbooks are put away and the more repressed sorts have gone home for the evening, the party turns into a huge sex party where anything (and everything) goes, so long as those who attend are not forced to do things they don’t want to do. At this particular party, Christian notices an interloper and she eventually susses out the identity of Stella (Bolvin), an old rival from high school. She is now a fairly well-known sex cam performer, although her boyfriend Jackson (Cowan) isn’t aware of that fact – he thinks she’s teaching night school. She was invited by Christian’s right hand man Danny (Smick), ostensibly to add some notoriety to the mix, but in large part to get under the skin of his employer.
It doesn’t seem to faze Christian much, and she ends up inviting Stella to the next one, urging her to bring along Jackson – whom Christian had a serious crush on back in high school. At the next party, things start to go horribly wrong for Christian as her secret perversion is revealed, her mother Lynda (Fichman), a former pop star, and who suffers from dementia, turns up and all of this threatens the entire structure of the Foundation.
This is described – accurately enough – as an erotic thriller mixed in with LGBTQ+ camp with, I might add, some dark comedy thrown in for good measure. But the real meat of the movie is as a character study, as the movie really looks in at the fragile reality behind the façade of a strong capable woman that is Christian.
The movie enjoys some sumptuous production values considering its low budget, and enjoys a really nifty soundtrack. The movie missteps a bit with the acting performances – the acting is like what you might find at a Broadway audition circa 1957 and is a little overly broad and stiff for the movie camera. Some of the dialogue is cringeworthy, even though (I think) it’s meant as satire. The film owes a lot to Kubrick’s final film Eyes Wide Shut in terms of the set-up and the overall air of decadence, but there’s a very thin line between pushing boundaries and coming off as pretentious.
This isn’t strictly LGBTQ+ either – I would categorize the sex more as pansexual than anything else – and while there is a certain amount of fluidity in the lead characters’ sexuality (particularly Christian’s) there is all kinds of hooking up going on that will titillate those of any sexual preference, although there is surprisingly little graphic sexual content considering the setting.
The ending is not at all what you would expect; normally I find that to be a good thing, but to be honest, it didn’t feel earned and the more I thought about it as time has gone by since I screened the film, the less it felt right. To be fair, this was never meant to be a movie for a wide audience; this isn’t going to be everyone’s brand of vodka. If you’re the sort who delights in the erotic (particularly the fringes of same), this might well be the kind of entertainment you’re looking for and then some. For most though, it’s going to be a hard sell.
REASONS TO SEE: The production values are surprisingly strong.
REASONS TO AVOID: Well over the line into pretentiousness.
FAMILY VALUES: There is plenty of profanity and sexual references as well as some violence.
TRIVIAL PURSUIT: A companion album featuring music by goth-pop artists The Major Arcana (of which director Scott J. Ramsey is a member) entitled At the Devil’s Ball was released in conjunction with the film.
BEYOND THE THEATERS: Amazon, AppleTV, Google Play, Vudu, YouTube
CRITICAL MASS: As of 2/18/21: Rotten Tomatoes: No score yet; Metacritic: No score yet.
COMPARISON SHOPPING: Eyes Wide Shut
FINAL RATING: 5/10
NEXT: Earwig and the Witch