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In keeping with the film's distinct style, the actors give heightened performances that are grounded in earthy situations. Rowe is terrific at the centre, holding his inner frustration in a gently clenched fist. He nicely captures Martin's connections with his brother and nephew, complex relationships that are also strikingly well-played by King and Woodvine. Endean provides some feisty moments of her own as a young woman who doesn't like following rules. By contrast, the actors playing the interlopers provide a superb sense of cluelessness.

The distinctive camerawork and performances create some properly gripping suspense. Jenkin only uses dialog when it's absolutely necessary, so much of the film is a wordless collage of imagery, skilfully assembled to set the scene and cut through the surface of the plot. This is a story about the eternal clash between old-world values and modern-day commerce, told through an disarming personal prism. Indeed, Jenkin's filmmaking is often so intimate that it makes the audience feel uncomfortable as we strongly connect to the people on-screen.

themes, language, violence

11.Jun.19

Performances are low-key, often whispery, creating a believably tense family dynamic. Poythress and Bowen are effective as estranged brothers who have a strong bond despite the insanity of this situation. And Burke is engaging as the sceptical sister-in-law who begins to think that maybe something supernatural is going on. The connections between these three are cleverly played, with a growing sense of intensity. So even if some moments feel forced, there's some strong realism in the characters.

Essentially, this is seems to be a 20-minute short extended into a feature. It's been padded out to a feature length with several moody montages and conversations that feel oddly disconnected. Still, there are some terrific observations along the way, especially the note that evil is a subjective thing. And as Lobo builds suspense about the voice behind that barricaded door, the final scenes become properly unnerving, with an added unhinged emotionality.

themes, language, violence

14.Aug.19

Gerard plays Lizzy as a complex woman, observant about things around her, quick to make a smart decision and resourceful in solving even the most unthinkable problem. Her matter-of-fact approach to situations is beautifully played, especially as the story takes some seriously nasty turns. Side roles are more straightforward, although they take on added layers as Lizzy begins to doubt herself. And each actor pays effectively with his or her character. Zukerman and McTee boldly take on men who feel naturally superior but also helpless.

Aside from the nearly inaudible dialog, which is mainly spoken under the breath, the film is sharply well put together, with beautiful cinematography (by Lyn Moncrief) and evocative editing (by Alexandra Amick) that connects the two time periods in an eery collision of nervy terror and wrenching emotion. The way it comes together in the final act is a little choppy, and the pace sometimes drags. But Lizzy's isolation and desperation are powerful, as is her inner resolve.

themes, violence, sexuality

16.Aug.19