Review

The Marshes

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A group of biologists venture out into the remote marshes of Australia. While conducting their research, they hear a legend of a murderous spirit that haunts the marshes. Soon they begin to hear strange noises and see things in the wilderness. Someone or something in the marsh is hunting them down one by one.

This thrilling Australian horror film is the feature-film debut of writer and director Roger Scott. The Marshes starts out slowly, taking its time introducing the audience to the key characters. It might be a bit too slow to start for some viewers, but I find this character development to be interesting as well as important. Not only does this time help to build an emotional connection to the characters, but it allows the filmmakers to plant various subtle clues that hint at what will eventually happen. This also allows the plot to gradually build suspense from multiple different angles. The scientists have to worry about sinister rednecks, the rugged environment, and something even more sinister. When things do finally turn sideways, the three researchers are thrown into a brutal fight for survival. There is plenty of suspense, violence, and gore to keep the audience at the edge of their seat.

I don’t want to spoil the movie, so I’m going to have to be very vague about my main complaint about the plot. The strange happenings are very small at first. These small events can almost be dismissed as figments of the character’s imagination, but as they increase with frequency and violence everything becomes more real. The problem is, there are moments where things either don’t make sense or it confuses what is real or imagined. If you pay attention to the clues I previously mentioned, then you might be able to figure out what exactly is going on. Yet you also need to have some very specific knowledge beforehand that isn’t explained in the film. It is likely knowledge much more common in Australia, but far less common to viewers from the US. I know this is incredibly vague, but the gist of what I’m getting at in the plot is intriguing and suspenseful, but might ultimately be confusing for many viewers. (Trust me, this paragraph will make more sense once you’ve seen the film)

The small cast of The Marshes delivers dynamic characters and great performances. Dafna Kronental (41, The Menkoff Method) shines as the lead researcher, Pria. She not only takes charge of the scientific study the trio is conducting, but she also takes charge when thrust into danger. Pria is bold in the face of injustice and danger. Kronental is absolutely brilliant in this role, and I want to see her in more roles in the future. Sam Delich makes his feature film debut as research student Will. Delich is very likable in this role. I like a man that can let a woman take charge, and Will has no problem taking orders from Pria. Then there is Mathew Cooper (Burning Kiss) who also does a fantastic job as Ben. This third researcher is a bit more prickly than his colleagues, but there is still something about the way Cooper plays Ben that still makes him endearing. All three actors play off of each other quite well and add to how much the audience cares about them.

As the film progresses, it gets surprisingly gory. The Marshes utilizes some truly fantastic and gruesome practical effects to create scenes some viewers will want to cover their eyes. Not only are the effects wonderfully done, but they create some disturbingly realistic gore to feast your eyes upon. The gorgeous setting and striking cinematography result in a gorgeous and haunting juxtaposition between the beauty of the scenery and the violence taking place.

The Marshes might be confusing to some viewers, but it still delivers a unique thriller. Scott shows that he knows how to craft a character driven plot filled with subtle details. This particular plot might not translate quite as well in different parts of the world because of those subtle details, but his talent is undeniable. The performances are fantastic, the imagery is gorgeous, and there is plenty of blood for the gore hounds. Definitely check this film out, and if you find yourself unsure of things by the time the credits roll, you know where to find me!

OVERALL RATING: 6.5/10

Underwater

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A crew working in an underwater lab has been drilling into the darkest depths of the ocean. Something causes the facility to implode and flood, killing hundreds of crew. The few survivors will have to brave the intense pressure and darkness of the ocean floor, but there is something far worse waiting for them in the dark.

William Eubank (The Signal, Love) brings to life an all new aquatic horror film written by Brian Duffield (Insurgent, The Babysitter) and Adam Cozad (Jack Ryan: Shadow Recruit, Tarzan). I’m a big fan of aquatic horror films, so I’ve been looking forward to this film since the first trailer dropped. I’m happy to say the film was entertaining from start to finish. Right when Underwater starts, it wastes no time getting into the excitement. The filmmakers wisely focused on two main fears: the claustrophobic fear of being in the deep ocean and the fear of the unknown beasts that lurk in those hidden depths. Arguably, the most terrifying aspect of the film is that claustrophobia. These fears drive the plot forward with survival as the main focus. It’s a very simple plot, but effective at evoking tension and anxiety in the audience.

There is nothing wrong with a simple plot in horror. Honestly, sometimes it makes a monster movie more fun when the main goal is simply surviving a beast of unknown origin. Yet Underwater hints at a more intricate plot multiple times, but those hints never come to fruition. One of the most obvious signs that there was likely a more involved plot can be seen whenever the captain is on screen. It seems clear that he knows more than he lets on and some of his actions even come across as a bit sinister, but nothing ever comes of it. Since there are multiple writers involved and a bigger studio, I can’t help but wonder what the film started out as compared to what is currently in theaters. I do enjoy the plot as is, but I would still love to see a version with a deeper conspiracy.

Genre film lovers will likely recognize many of the faces in Underwater. Kristen Stewart (Personal Shopper, Lizzie) stars as Norah. She is a highly industrious and pragmatic character. Stewart plays Norah quite well as someone who will do what she can to survive and to save her friends, but she also clearly understands her odds of survival. Another standout performance comes from John Gallagher Jr (10 Cloverfield Lane, Hush) as Smith. I’ve often thought of Gallagher as a chameleon in genre films because he does such a great job of committing to a character that he becomes almost unrecognizable. His portrayal of the lovable Smith is no different, and he is a joy to watch. Other compelling performances come from Jessica Henwick (Game of Thrones, Iron Fist) as Emily, T.J Miller (Cloverfield, Deadpool) as Paul, and Vincent Cassel (Brotherhood of the Wolf, Black Swan) as the captain.

From the creatures to the sets to the costumes, every artistic detail of Underwater is clearly very thoroughly thought out. As an aquatic creature feature, the design of these underwater beasts is very important. Underwater utilizes CGI effects to create an array of frightening deep sea creatures. The audience will see different variations of this creature. For the most part the design makes sense for the environment these beings likely thrive in, but there are certain aspects that don’t work quite as well for me. Without giving too much away, the main creatures we see are a bit too humanoid, and one of the creature reveals almost looks like it belongs in a different movie entirely. The set and costume design are fantastic. It truly feels like the actors are in a lab with thick, sturdy walls that could still implode if even one thing goes wrong that deep in the ocean. The dive suits the actors wear are also incredible. They look as if they could actually handle the pressure of being under 6 miles of water. All of these artistic choices effectively transport the audience to an anxiety-inducing, claustrophobic setting.

Underwater is a claustrophobic creature feature that is entertaining as is, but hints at a deeper conspiracy. Eubank proves he knows how to make an edge-of-your-seat film. While it is thrilling and fun to watch, I can’t help but be curious what more there was to the plot before the film hit theaters. There are clear indications of a different film than what audiences were given. I truly enjoyed the popcorn horror flick we got. I just hope we either get a director’s cut when the film is released on Blu-ray that goes deeper or a sequel that builds on the mythos and the history of these creatures. If you haven’t seen Underwater yet, I strongly urge you to make time to see it on the big screen as it should be.

OVERALL RATING: 7/10

The Grudge (2020)

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When an emotional, violent crime is committed, it leaves a stain. That stain grows and festers, affecting all those who encounter it. After a woman returns from a job in Japan, a curse infects her home. It leads to a chain of horrific events and disturbing deaths. A detective will have to investigate to stop the curse and save herself from the ghosts haunting her.

January is generally considered a throw-away month for films released in theaters, especially horror films. The first horror release of January gave some horror fans hope that trend would be broken. The Grudge has a long film history beginning with the 2002 Japanese film, which spawned many sequels, and then the 2004 American remake. Now, writer and director Nicolas Pesce (Piercing, The Eyes of My Mother) has created another addition to this lucrative dynasty. Unfortunately, this latest iteration is riddled with issues. The most obvious issue is the pacing. Much like the film’s source material, the plot jumps back and forth to different periods of time beginning with the woman who brought the curse back from Japan and ending with the detective investigating it all. While audiences have seen this work, even within the frame of The Grudge films, in this version it makes the film feel like it drags. There simply isn’t enough that happens between the time jumps to keep things exciting.

For some reason, whether an artistic choice or a decision made by the producers, the film directly connects to the house fans will know from Japan. That means it also relates back to Kayako. This connection seems unnecessary in the 2020 version of The Grudge. The film ends up being a weird sequel/remake/reboot all in one. This version would have been better served to stand on its own, separate from the Japanese version. It ends up creating more confusion because there isn’t a solid mythology to build from. The first woman carried the curse back from Japan, but then it is only her ghost and the ghosts of her family we see haunting people, not the ghosts from Japan. It begs the question why the curse followed that specific woman and started a new curse in her home, but then the same thing didn’t happen to those cursed in the states. While there are many plots points that are not fully developed and various plot holes, this mythos, or lack thereof, is the most apparent.

Fans of this franchise will likely go into The Grudge expecting plenty of tension and scares. People who know me will likely know I am a huge wimp and get scared easily. If this gives any indication, I was not scared at all during the entire runtime of this film. The film relies too heavily on unearned jump scares that don’t manage to cause much jumping, and it fails to build the tension between scares as well. The Grudge also relies too much on grotesque images to attempt to elicit fear. While these practical effects to create the horrifying ghosts are beautifully done, they also come across as more of a gimmick to achieve an R rating, rather than something vital to the plot.

While the character development is lacking, the most successful aspect of The Grudge is the performances. The standout performance by far is horror fan-favorite Lin Shaye (Insidious, Room For Rent) as Faith Matheson. Faith is a woman whose physical and mental health are on a swift decline. Her interactions with the curse are somewhat unique from others, and Shaye delivers a spine-chilling performance in this role. The other two performances that are enjoyable come from John Cho (Searching, Star Trek) and Andrea Riseborough (Mandy, Oblivian). Both Cho and Riseborough do well in their respective roles, although the characters are not very well written so they come across as flat. They do the best they can with what they are given.

The Grudge lacks a solid mythos to build a terrifying story, resulting in a slow and lackluster start to 2020. Based on Pesce’s body of working leading up to this film, which consists of some great films, one can only assume he was restricted by producers. The film moves along far too slowly, fails to create the scares fans expect, and contains one plot hole after another. My one hope is that this doesn’t keep Pesce from continuing to make the kinds of films we all know he’s capable of.

OVERALL RATING: 3/10

Sweetheart

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After an apparent shipwreck, Jenn washes ashore on a remote tropical island. As if having to survive stranded on an island isn’t bad enough, as night falls Jenn realizes a deadly creature uses this island as its hunting ground. Jenn will have to battle the elements, dehydration, starvation, and the creature in order to survive.

This thrilling new aquatic horror film is directed by J.D. Dillard (Sleight, Judy Goose). Dillard also co-wrote Sweetheart along with Alex Theurer (Sleight, Intervention) and Alex Hyner, this being Hyner’s first feature film. The film opens as Jenn awakes on the shore of the tropic island. She has to quickly come to terms with the shipwreck, the likelihood that all her friends are dead, and how she will live on the island until found. Jenn proves to be a very resourceful woman, even as she is forced to fend off creature attacks each night. I’ve always been a fan of aquatic horror films, especially those with unique creatures. Sweetheart not only delivers a fantastic creature feature that is exciting to watch, but it also gives the audience a heroine they can root for.

Sweetheart may be a great creature feature, but it is also very well written. Since Jenn is on the island alone for a majority of the film, there is very little dialogue. The story is told primarily through action, which is very difficult to do in this day and age. There has to be a balance of action and exposition in order to hold the audience’s interest. Dillard, Theurer, and Hyner do a phenomenal job of maintaining this balance throughout the film. They even know when to inject moments where Jenn speaks to herself to break up the silence. Similarly, the audience only learns things as Jenn reveals them or as they are revealed to her. This leaves certain plot points a mystery. While for the most part it works well, there is one plot point that alludes to the fate of a character. While it works in the sense that we only learn as much as Jenn does, it seems almost unnecessary. It hints at something that never becomes important by the end of the film.

What I found most compelling about the writing is the subtext. There are multiple references in Sweetheart to whether or not Jenn is a trustworthy person. It references how women, especially women of color, often have a hard time getting people to believe them. In this film it’s to make people believe there is a ravenous monster lurking in the water. In the real world, it’s to make cops or other people believe they have been abused, raped, or any number of other terrible things. It’s a not-so-subtle subtext that fits in perfectly with the horror genre.

The film has a small cast, each performance being great. Kiersey Clemons (Flatliners, Dope) absolutely carries the film with her performance as Jenn. The way Jenn adapts to her situation and does what she can to defend herself is fascinating to watch. Clemons perfectly portrays Jenn’s resilience as well as her striking ability to accept her situation and rise above it. Another vital and entertaining performance comes from Andrew Crawford (Alien: Covenant, Little Monsters) as the creature. While this isn’t a speaking role, Crawford breaks through the screen as an imposing and terrifying monster. There is also an elegance about the creature and the way it moves. These two opposing forces make for quite the power struggle.

Visually, Sweetheart has a lot going for it. The tropical setting is absolutely gorgeous, which makes the presence of a monster stand out. The setting is enhanced by some absolutely gorgeous cinematography by Stefan Duscio. Duscio especially has a way of using natural light sources, such as the sunset and fire, to enhance the scene and draw the eye to specific things on screen. Then there is the creature design. In a film where there are really two characters, Jenn and the creature, the design of the creature becomes a vital piece of the film. Luckily, the filmmakers chose to go with a practical monster design that is as terrifying as it is sleek. It looks like something that could exist in the tropical setting, living in the ocean and hunting on land. Some of the creature effects are enhanced by CGI, but it’s clear that for the most part it is practically made.

Sweetheart is equal parts monster survival movie and social commentary film. Dillard, Theurer, and Hyner prove to be a fantastic filmmaking trio. They create a film with minimal dialogue that tells a powerful story of survival, resilience, and strength. While there are one or two extraneous aspects that never become fully-formed subplots, they don’t necessarily detract from the primary focus of the film. It is still a stunning film with a frightening creature and an important message: believe women.

OVERALL RATING: 7.5/10

Black Christmas (2019)

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A group of sorority sisters at a prestigious college decide to stay at their sorority house over winter break. Unfortunately for these women, the school has a sordid tradition of misogyny and racism. This holiday, that tradition involves killing female college students who are “out of line.” The sisters will have to fight for their lives if they want to make it until Christmas.

Continuing a long and delightful tradition of Christmas horror films comes Black Christmas. This re-imagining of the 1974 classic is directed by Sophia Takal (New Year New You, Always Shine), who also co-wrote the film with April Wolfe in her feature film debut. Instead of recycling the same plot of the original film, Takal and Wolfe have created a culturally-relevant thrill ride that still has some of the same spirit of the original. The film focuses on Riley, a sorority sister who has had enough of the fraternity brothers. After a scandalous Christmas performance at the frat house, the sisters find themselves in mortal danger as a masked figure attacks them in their sorority house. The mythos created around the university and the founder of the school is very interesting, albeit not as well developed as it could have been. Either way it is still very entertaining. Even though this film is a complete re-imagining of the original, eagle-eyed fans of the 1974 Black Christmas will still see a few fun nods to the original film sprinkled throughout.

This film is incredibly politically charged, definitely written for women, and it’s going to piss off a lot of men. It addresses the rampant male toxicity in the world today and how it affects women. Much of the plot, both the normal interactions and the murderous ones, involve experiences that are unique to women. The most obvious female-specific experience is the sexual harassment and assault women deal with on a daily basis. It even shows how we can’t walk down the street alone without having to be completely aware of our surroundings. Some of the more subtle interactions are likely ones most men won’t pick up on. There are references to Diva cups, periods, and vibrators that are sure to get some good laughs from the women in the audience. What I especially enjoyed about the update of this film is how it essentially lets men know women are done taking all of their shit. These women are strong, powerful, and they are done with misogynistic men trying to control and ruin their lives.

While I love the update in this Black Christmas and commend the message it sends, that doesn’t mean it’s a perfect film. One issue I have with the plot is a lack of character development. Aside from Riley and maybe one other sorority sister, it doesn’t feel like the audience really gets to know the women very well. Another aspect that felt unnecessary is the character of Landon. While the character is nice and the performance is great, his character felt like an afterthought. It was almost as if the studio asked the filmmakers to include at least one guy to fit into the “not all men” category. Finally, I feel like Cary Elwes (The Princess Bride, Kiss the Girls) was greatly underutilized. It’s obvious from the beginning that he isn’t a good guy, and we’ve seen in him a great villain in past films, but his character just doesn’t quite reach that same malevolent level fans will likely want and expect.

Each of the women in Black Christmas deliver great performances of complex and strong females. Imogen Poots (Green Room, 28 Weeks Later) stars as Riley. She is a survivor of a sexual assault and doubly strong because she persevered despite not being believed. Poots does a fantastic job of conveying Riley’s trauma and how it has changed her, but she is also able to be strong and powerful with the help of her friends. Aleyse Shannon (Charmed, Instinct) stars as Riley’s sorority sister, Kris. Kris is a very political character and a clear fighter who isn’t afraid to speak her mind. Shannon is great at exuding confidence as Kris while also being a great support system for her sisters. Honorable mention goes to Lily Donoghue (Jane the Virgin) as Marty, Brittany O’Grady (Above Suspicion), and Caleb Eberhardt (The Post) as Landon.

To keep up with the legacy of the original film, this Black Christmas had to be sure to have some great visuals. For one, the lighting in this film is phenomenal. There is a lot of great use of Christmas lights to draw the viewer’s eye while also creating gorgeous color play on the screen. While I feel as though the filmmakers shied away from showing the kills a bit too much, they did find a clever way to show some gore within the constraints for the PG-13 rating. I will leave this as a bit of a surprise since it relates to hidden aspects of the plot, but suffice it to say there is at least a bit of gore for the gore-hounds out there. Earlier I mentioned there are great Easter eggs from the first film, but also be sure to keep an eye out for a delightful little nod to The Exorcist III.

Black Christmas is a film made by women, for women, that is sure to bring in hoards of new young female horror fans. It is clear that Takal and Wolfe made this film for young women with the goal of empowering them and bashing male toxicity. If this film makes even one young woman feel empowered after leaving the theater, then it is a successful film. Naturally, the political message and the idea of empowering women is a threat to many men, as we see in the film and has already been evident on social media around the film. I for one really enjoyed Black Christmas. It has it’s flaws, but its fun, has great characters young women can look up to, and will definitely appeal to its target audience. Hopefully this will lead to many more studio horror films geared towards women who love horror. There are definitely going to be plenty of men who don’t like this film, which is fine, but if you’re a guy just remember: this film wasn’t made for you.

OVERALL RATING: 6.5/10

Daniel Isn’t Real

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As a child, Luke had an imaginary friend named Daniel. After a troubling incident, he locked Daniel away and moved on with his life. Now a freshman in college, Luke returns home to visit his mentally unstable mother. In rehashing past trauma, Luke releases his old friend to help him cope with his reality.

From the producers of Mandy comes an all-new film to blow audiences’ minds. Daniel Isn’t Real is based on the novel by Brian DeLeeuw titled This Way I Was Saved. DeLeeuw (Curvature, Some Kind of Hate) co-wrote the film with director Adam Egypt Mortimer (Holidays, Some Kind of Hate). This duo creates cinematic magic in this film and delivers a compelling story unlike anything I have seen before. The film introduces us to Luke when he is a child and dealing with his parents going through what is clearly a tumultuous divorce. It is during this time that Daniel makes his first appearance. Imaginary friends are a fairly common coping mechanism for children going through trauma, so his mother allows this fantasy to continue until that fantasy becomes dangerous. Then Daniel comes back into Luke’s life during another time of trauma. Daniel is a very alluring and charming person who is able to help Luke get through hard times, tap into his artistic abilities, and become more confident with women. But, as with most things, all of this is too good to be true and Luke’s life spirals out of control all thanks to Daniel. DeLeeuw and Mortimer clearly create a fantastic mythos for Daniel and relate it to real-world issues. It’s also a mythos that keeps the audience guessing as to whether Daniel is a figment of Luke’s imagination, a side effect of a mental health issue, or something far more sinister.

There are so many layers to the plot of Daniel Isn’t Real. The top layer primarily deals with mental health. Luke’s mother has schizophrenia that is clearly not being taken care of by a healthcare professional. Naturally, when Luke’s life starts to get out of hand he thinks he is like his mother. Not only is it sad to watch his mother lose her handle on reality, but it’s equally unsettling to see how much it alters Luke’s life both when he was a child and as an adult. With schizophrenia potentially being hereditary, it’s heartbreaking to see Luke question his own sanity and fear that he is becoming like his mother, despite his love for her. It’s really powerful to watch and creates a stunning yet depressing commentary on mental illnesses and how they affect more than just the afflicted.

Another layer to the plot of Daniel Isn’t Real is the allure of power and control. Daniel is able to improve Luke’s life in virtually every aspect at first. His mother finally goes into the treatment she needs, he gets into photography, and he finally is connecting with other people. The effect Daniel has is intoxicating to Luke, but it also means he lets his guard down around his newfound friend. Daniel ends up taking over his entire life. There is even a psychosexual element as Daniel’s power over Luke extends to the bedroom, yet Daniel appears to almost be jealous of these interactions. It’s a bizarre dichotomy that makes you wonder who is truly in control at any given moment. Yet, despite that battle for control, the two are very much dependent on each other as well.

Daniel Isn’t Real contains many truly phenomenal performances. Miles Robbins (Blockers, Halloween) stars as Luke. Up until this film I had only really seen comedic performances from Robbins. His portrayal of Luke absolutely blew me away. Robbins shows such emotional depth in this role and conveys Luke’s unraveling mental state perfectly. It’s the kind of performance that stays with you long after the film ends. Patrick Schwarzenegger (Scouts Guide to the Zombie Apocalypse, Grown Ups 2) stars opposite Robbins as Daniel. At first Schwarzenegger’s performance is quite subtle. He’s charming, helpful, sleek, and sexy. Then as the cracks in Daniel’s facade grow and his true nature shows, Schwarzenegger is able to really let his acting ability shine. He makes the character ominous and dangerous and pure evil in the best way possible. Both Robbins and Schwarzenegger also play off of each other very well. Other delightful performances can be found in Sasha Lane (Hellyboy) as Cassie, Mary Stuart Masterson (Fried Green Tomatoes) as Claire, and Chukwudi Iwuji (John Wick: Chapter 2) as Braun.

There are many gorgeous artistic elements throughout Daniel Isn’t Real. The filmmakers utilize a combination of both practical and CGI effects. While both are impressive, the practical effects are especially striking. They manage to be both beautiful and disturbing in a way that commands the screen and draws the viewers’ eye. The effects become more prominent and elaborate as the plot progresses and beautifully blends different worlds. Throughout much of the film, artwork is prominently featured as well. The most disturbing, beautiful, and iconic images are of Daniel. Along with the visual artistry, Daniel Isn’t Real also has a bewitching musical score by composer Clark (National Treasure: Kiri, Rellik). The score has an eeriness to it that matches the tone and look and the film.

Daniel Isn’t Real is a triumph of filmmaking. It claws its way into the minds and souls of audience members and never lets go. Both DeLeeuw and Mortimer deliver a masterpiece of a film. The performances from Robbins and Schwarzenegger demand attention and their on-screen chemistry is delightful to watch. What might be the biggest feat of Daniel Isn’t Real is how it takes ideas that wouldn’t traditionally work on screen and executes them perfectly. As an indication of how much I enjoyed this film, I went online and bought the novel Daniel Isn’t Real is based on as I wrote this review. This is a must-watch film and one that has solidified its place in my top films of 2019.

OVERALL RATING: 9.5/10

The Fare

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A taxi driver finds himself on a remote road at night to pick up a fare. A mysterious woman ends up in his cab, but before they reach their destination she vanishes. Unbeknownst to the taxi driver, he will meet the woman again as soon as he switches the meter back to vacant.

D.C. Hamilton (The Midnight Man) brings audiences his sophomore film as the director of The Fare. Written by Brinna Kelly (The Midnight Man), who also stars in the film, The Fare tells the story of a taxi driver named Harris. When he is sent out to the remote location at night to pick up a fare, he half expects it to be a prank call. That is until he finds a beautiful and mysterious woman named Penny there waiting for him. They have normal polite conversation until they approach an oncoming storm, then the woman suddenly vanishes. Harris, confused, resets his meter back to vacant and ends up right back where he started. The only problem is, he doesn’t seem to know he’s been reset. The audience watches as Harris and Penny go through the same time loop, that is until Harris finally starts to remember.

The entire premise of The Fare is far more interesting and unique than I expected. In the past few years there have been a number of time-loop films. Each one has its own distinctive flare and reasons for the time loop. This film manages to stand out from the crowd by delivering a compelling story and an unexpected reason for Harris and Penny being stuck in that loop. The filmmakers do a fantastic job of keeping the audience guessing. At times the film hints at aliens, gods, and other potential reasons. The truth is revealed in layers, only divulging small pieces of the puzzle at a time and ultimately making the big reveal incredibly satisfying. More importantly, it makes sense! Often times the plots of time-loop films can get convoluted, but The Fare delivers something audiences will understand and enjoy.

When you strip The Fare down to its core, it is much more of a love story than it is a time-loop film. Once Harris becomes aware of his situation and remembers more, we see his relationship with Penny grow. It’s especially interesting to watch because they are at such different stages of coming to terms with their situation. Penny’s memory goes much further back, so she’s already gone through the various stages of grief such as anger and bargaining, but she’s now accepted her situation. Since Harris is starting from the beginning, he has a harder time coming to terms with his situation. Yet it all brings them closer together, which only strengthens Harris’s quest to escape the loop with Penny and find the truth.

Both leads in The Fare deliver great performances. Gino Anthony Pesi (Shades of Blue, Battle Los Angeles) stars as Harris the taxi driver. While more handsome than people might expect of a stereotypical taxi driver, Pesi still fits the role well. There is a roughness to him, but he is still a very personable individual. What I especially enjoy about Pesi and his portrayal of Harris is his gradual change. Throughout his character arc, the audience sees Harris go through a wide range of emotions. When Harris and Penny become closer, Pesi even conveys a soft and caring side that is unexpected. Writer Brinna Kelly stars as Penny. Kelly brings a certain amount of poise and elegance to Penny that is very fitting for the character. Yet it’s when her barriers are broken down and her affection for Harris grows that Kelly really creates memorable moments for Penny. Pesi and Kelly have great on-screen chemistry throughout the film and will hold the attention of audiences.

Overall, the look and feel of the film reminds me a lot of an episode of The Twilight Zone and old noir films. At first, The Fare is in black and white. As Harris’s memory comes back, more and more of the film is in color. It creates a great visual cue for the audience to designate when Harris knows he is in the loop or not. The filmmakers also wisely chose to have the film set almost entirely within the taxi. Not only does this create a very intimate setting for the two leads, but it also allows for a lot of possibilities when it comes to the “why” behind the time loop. This decision likely gave the filmmakers the opportunity to spend the budget in more valuable areas instead of building elaborate sets or paying to use various locations.

The Fare is an unexpected gem that delivers something new to the time-loop subgenre of film. Hamilton and Kelly prove to be an effective filmmaking duo as they take audiences on a journey that goes to strange new places. Kelly also shows her acting prowess along with Pesi. Both actors deliver stunning performances and create dynamic characters. My only truly negative criticism of The Fare is at times the small budget is quite apparent. Yet the plot is novel enough and creates a mythos that is sure to bewitch audiences.

OVERLL RATING: 8.5/10