It’s been some time since I’ve had that feeling of being “had,” going into something with hopeful expectations, only to find out that it was all a ruse. Cinema is often like this, drawing us in, capturing our emotions and interests, even playing off our primal instincts. Michael Bay knows the mass loves explosions, so there are always plenty in his films, all of which appear int he films’ trailers. Trailers are another way that we, as viewers, can be duped. It’s a necessary evil, I suppose. The nature of the marketing beast that, inevitably, will always accompany the anticipation involved with being a movie watcher. This has become something of a cultural agreement of modern society. We tolerate in order to be entertained.
I find it “crazy” how individuals associated with one film, generally applauded for being a success, can turn around and be equally associated with a flop, but it happens. This is where the “buyer beware” term is coined. Never judge a book — or, movie — by it’s cover, as they say. This goes both directions. It’s been by experience that, no matter how much you enjoy a director, actor or actress, or perhaps even a writer, never to allow yourself to be drawn into the blind expectation that anyone is perfect. Unfortunately, I allowed this very rule I have self-imposed to be broken.
OUT OF THE DARK (2014) is a film that has done just that, wandered haphazardly out of the dark, only to be blinded by the light of day as it finds an eager, albeit unsuspecting audience. For those fans of the horror/thriller genre accustomed to Netflix, the ratio of good genre films to schlocky and/or just plain bad movies that seemingly pop up out of nowhere is pretty extreme. Nonetheless, at least a minimum of 3-4 of these films will always be present in our queue at any given time, patiently awaiting their 90 minutes of instantly-streamed glory. What we are not accustomed to, and less less tolerant of, is paying inflated theatrical ticket prices to obtain the aforementioned low-grade thrills of b-movies.
In short, this shall be the level of entertainment one receives when sitting down to watch OUT OF THE DARK. I have never been one to unduly criticize a filmmaker for making his/her art, and that’s not about to start now. In all honesty and with full disclosure, I am disappointed with director Lluis Quilez, as this is his feature film debut. On the other hand, OUT OF THE PAST is co-written by Javier Gullon and David Pastor, and I couldn’t be more disappointed. Pastor, who wrote and directed CARRIERS (2009) and THE LAST DAYS (2013) were both of noticeably higher caliber, despite his now well-established obsession with viral epidemics. Gullon wrote ENEMY (2013) for God’s sake, a vastly superior and endlessly cerebral and mesmerizing piece of scriptwriting. How this can be is beyond my comprehension, but its said that oil never mixes with water.
OUR OF THE DARK sets in motion a thriller about two parents searching for their missing child, only to uncover a corporate scandal hidden behind a family secret by way of a ghostly haunting in South America. Chew on that. Sarah, played by Julia Stiles, moves to South America along with her husband Paul, played by Scott Speedman, and daughter Hannah to take over her father’s business. Her father Jordan, played by Stephen Rea, is a respected man in the jungle village as he once helped bring prosperity to the poor indigenous people, but that prosperity has recently suffered due to economic downturn and tragedy. Shortly after arriving, Hannah goes missing, which leads to a witch hunt for creepy children who are suspected by Sarah to have taken her daughter, but of course her search is hindered by silence and secrecy.
Director Quilez has managed to take a dismally uninteresting script and still make a visually engaging film, despite what I imagine is a modestly modest budget. In addition, the special effects for the creepy children are low-grade but effective, a mix of makeup and digital manipulation. The overall effect of the ghostly haunting sequences is somewhat unnerving, so for that I commend the filmmaker in what would otherwise be a relatively forgettable film. As for the cast, Speedman has never gotten me excited for anything, so I’ll stop there. Stiles has ridden the fence for some time now, but ultimately takes a hit in my book with OUT OF THE DARK. She plays this film too safe, far too by the book, theatrically textbook. Perhaps the most unbearable example of this would be the key, climactic scene when she confronts her father, but I also can’t blame Stile and Rea entirely for this, because the dialogue in this scene is so utterly cliche I could nearly recite their lines before they do. The drama gives way to forced melodrama and the emotions are of the instant just-add-water equivalency.
OUT OF THE DARK (2014) is slow to get started, offers little in the way of original material and asks the audience to care way to deeply about 2-dimensional cookie cutter characters in a dispassionately written film that isn’t quite sure if it’s a paranormal thriller or an ecological morality drama. While its an excusable throw-away popcorn rental that at least looks interesting at times, its far from worth paying cinema prices. At least at home, you can kick into MST3K mode if necessary, and not risk getting asked to leave the theater… and the popcorn is a lot cheaper.
OUT OF THE DARK is currently available via VOD and opens in theaters on Friday, February 27th, 2015.
Overall Rating: 2 out of 5 stars
