Greetings again from the darkness. On my never ending trek to find quality horror movies, this one had a couple of interesting things going for it. First, it stars Elizabeth Olsen (sister of the twins) who was so impressive in last year's Martha Marcy May Marlene. Secondly, the film was reported to have been shot in one continuous take/shot. From a technical aspect, this is one of the more curious claims and brazen filmmaking attempts one can imagine.
Let's start with the fantastic Ms. Olsen. With very few lines of dialogue and being on screen for 95% of the frames, she doesn't disappoint. The camera loves her face ... even when that camera is mere inches away and the lighting is provided by a kerosene lamp or flashlight. She proves very expressive in fear and isn't afraid of quiet, and more rare these days, she isn't afraid to look less than glamorous. Ms. Olsen's future is much brighter than the lighting in this bleak house.
The basic story has Sarah (Olsen), her dad (Adam Trese) and her uncle (Eric Sheffer Stevens) returning to the family lake house for some simple rehab and packing, with the goal of putting the place up for sale. Next thing you know, strange noises, a lost key, and dad is bloodied on the floor. The house itself is a maze of doors, floors and staircases, and because the windows are boarded up and the electricity is dead, the limited lighting will have you straining your eyes to make out location and shapes.
Directed by the husband and wife team of Chris Kentis and Laura Lau (Open Water), the first 30 minutes of this movie captured my interest and had me on edge. Unfortunately, it kind of unravels and ultimately ends with a disappointing and rather cheap explanation. It's a remake of a 2010 Uruguay film, which was based on a true story from the 1940's. I am not sure if the ending to this one follows the "true" ending. As for the single take, I call BS. There were changes to the blood spatters on Olsen, not to mention numerous times where a "blackout" proved convenient to shift camera gear. Still, the real time feel is a nice touch, as is the minimal use of music ... a rarity in a genre known for blasting crescendos to cue our screams.
Let's start with the fantastic Ms. Olsen. With very few lines of dialogue and being on screen for 95% of the frames, she doesn't disappoint. The camera loves her face ... even when that camera is mere inches away and the lighting is provided by a kerosene lamp or flashlight. She proves very expressive in fear and isn't afraid of quiet, and more rare these days, she isn't afraid to look less than glamorous. Ms. Olsen's future is much brighter than the lighting in this bleak house.
The basic story has Sarah (Olsen), her dad (Adam Trese) and her uncle (Eric Sheffer Stevens) returning to the family lake house for some simple rehab and packing, with the goal of putting the place up for sale. Next thing you know, strange noises, a lost key, and dad is bloodied on the floor. The house itself is a maze of doors, floors and staircases, and because the windows are boarded up and the electricity is dead, the limited lighting will have you straining your eyes to make out location and shapes.
Directed by the husband and wife team of Chris Kentis and Laura Lau (Open Water), the first 30 minutes of this movie captured my interest and had me on edge. Unfortunately, it kind of unravels and ultimately ends with a disappointing and rather cheap explanation. It's a remake of a 2010 Uruguay film, which was based on a true story from the 1940's. I am not sure if the ending to this one follows the "true" ending. As for the single take, I call BS. There were changes to the blood spatters on Olsen, not to mention numerous times where a "blackout" proved convenient to shift camera gear. Still, the real time feel is a nice touch, as is the minimal use of music ... a rarity in a genre known for blasting crescendos to cue our screams.