by Josh Sewell
We’re still in the midst of the winter doldrums, as our recent weather can attest, which means choices at the multiplex are even more hit-or-miss than usual. That doesn’t mean good films are impossible to find, however – you just have to look a little harder and be willing to take a chance on more eclectic fare.
A perfect example is Out of Darkness, a horror movie opening this weekend. Although it features a lot of familiar genre tropes, the premise has some unique traits that allow screenwriter Ruth Greenberg and director Andrew Cumming to employ them in refreshingly creative ways. That includes characters who speak a fictional primitive language (which the filmmakers call Tola, short for “the origin language”) based on Arabic, Basque and Sanskrit.
Set during the Stone Age – about 45,000 years ago – the story revolves around a group of six early humans (Chuku Modu, Kit Young, Safia Oakley-Green, Iola Evans, Luna Mwezi and Arno Lüning) who risk a treacherous sea voyage to find a new home. They eventually reach land, but they’re barely hanging on. Desperate for food and shelter, they set out across the unwelcoming tundra, where nothing lives or grows, towards some distant mountains – hopefully with caves that will help them survive the elements.
However, once night falls, the group realizes they’re not alone. Strange noises lead them to believe something large and deadly is following them, a suspicion that’s verified when they start getting picked off one by one. As the group begins to turn on each other, nature reveals the terrible choices they must make in order to survive.
The horrors found in Out of Darkness are the brooding, atmospheric type, playing out gradually as the film establishes the characters’ personalities and the dire situation in which they find themselves. However, once the deadly nature of the group’s foe becomes apparent, the story becomes nauseatingly grim. (The film’s R rating is warranted, but it’s probably fine for younger teens looking to dive into more adult scares.)
From the beginning, it’s clear that the filmmakers’ intent is to highlight the deadly consequences of fear and the importance of communication, which humanity has been struggling with since our origins. Even key character names are important to this theme: the patriarch and matriarch of the group are called Adem (Modu) and Ave (Evans), providing a massive clue about the metaphorical territory that Greenberg and Cumming are steering viewers into.
Out of Darkness reminded me a bit of Prey, Dan Trachtenberg’s 2022 Predator prequel about a Comanche woman taking on the highly skilled alien hunter. Although, for reasons that the story eventually reveals, the antagonists’ natures and motivations end up being very dissimilar.
Another crucial difference between the films is that Out of Darkness stumbles a little in its final moments, wrapping up the characters’ journey in anticlimactic fashion. As such, viewers feel something of an emotional ellipsis as the end credits roll, rather than a period or exclamation mark.
That being said, I appreciate that the danger is unseen for much of the film’s brief 87-minute running time. As Steven Spielberg proved with his classic Jaws, what viewers imagine is far more terrifying than anything we actually see on screen – especially in an era where lame CGI has become the standard.
Furthermore, the performances are strong across the board, thanks to visually striking actors who make their characters compelling, despite vague backstories. The standout is Oakley-Green, as the tribe’s “stray” member who must constantly validate her inclusion in the group, since everyone else has more clearly defined roles in their journey.
Adding to the film’s overall is Ben Fordesman’s frequently jaw-dropping cinematography. He incorporates natural light and utilizes aerial shots, along with canted angles, to give the already alien environment an even more unsettling feel. Adam Janota Bzowski’s score also adds to that sensation – it’s simple and sparse, yet remarkably effective.
Out of Darkness isn’t getting a Marvel-sized wide release, but it’s set to play in enough theaters that it shouldn’t be too far a drive if you want to see it on the big screen. While it definitely has a handful of flaws, the immersive nature of the unique experience that Greenberg and Cumming have crafted make it worth seeing on the big screen. Check it out this weekend if you have the chance.
(Out of Darkness is rated R for violence and some grisly images. Opens in theaters on February 9.)
Grade: B
A perfect example is Out of Darkness, a horror movie opening this weekend. Although it features a lot of familiar genre tropes, the premise has some unique traits that allow screenwriter Ruth Greenberg and director Andrew Cumming to employ them in refreshingly creative ways. That includes characters who speak a fictional primitive language (which the filmmakers call Tola, short for “the origin language”) based on Arabic, Basque and Sanskrit.
Set during the Stone Age – about 45,000 years ago – the story revolves around a group of six early humans (Chuku Modu, Kit Young, Safia Oakley-Green, Iola Evans, Luna Mwezi and Arno Lüning) who risk a treacherous sea voyage to find a new home. They eventually reach land, but they’re barely hanging on. Desperate for food and shelter, they set out across the unwelcoming tundra, where nothing lives or grows, towards some distant mountains – hopefully with caves that will help them survive the elements.
However, once night falls, the group realizes they’re not alone. Strange noises lead them to believe something large and deadly is following them, a suspicion that’s verified when they start getting picked off one by one. As the group begins to turn on each other, nature reveals the terrible choices they must make in order to survive.
The horrors found in Out of Darkness are the brooding, atmospheric type, playing out gradually as the film establishes the characters’ personalities and the dire situation in which they find themselves. However, once the deadly nature of the group’s foe becomes apparent, the story becomes nauseatingly grim. (The film’s R rating is warranted, but it’s probably fine for younger teens looking to dive into more adult scares.)
From the beginning, it’s clear that the filmmakers’ intent is to highlight the deadly consequences of fear and the importance of communication, which humanity has been struggling with since our origins. Even key character names are important to this theme: the patriarch and matriarch of the group are called Adem (Modu) and Ave (Evans), providing a massive clue about the metaphorical territory that Greenberg and Cumming are steering viewers into.
Out of Darkness reminded me a bit of Prey, Dan Trachtenberg’s 2022 Predator prequel about a Comanche woman taking on the highly skilled alien hunter. Although, for reasons that the story eventually reveals, the antagonists’ natures and motivations end up being very dissimilar.
Another crucial difference between the films is that Out of Darkness stumbles a little in its final moments, wrapping up the characters’ journey in anticlimactic fashion. As such, viewers feel something of an emotional ellipsis as the end credits roll, rather than a period or exclamation mark.
That being said, I appreciate that the danger is unseen for much of the film’s brief 87-minute running time. As Steven Spielberg proved with his classic Jaws, what viewers imagine is far more terrifying than anything we actually see on screen – especially in an era where lame CGI has become the standard.
Furthermore, the performances are strong across the board, thanks to visually striking actors who make their characters compelling, despite vague backstories. The standout is Oakley-Green, as the tribe’s “stray” member who must constantly validate her inclusion in the group, since everyone else has more clearly defined roles in their journey.
Adding to the film’s overall is Ben Fordesman’s frequently jaw-dropping cinematography. He incorporates natural light and utilizes aerial shots, along with canted angles, to give the already alien environment an even more unsettling feel. Adam Janota Bzowski’s score also adds to that sensation – it’s simple and sparse, yet remarkably effective.
Out of Darkness isn’t getting a Marvel-sized wide release, but it’s set to play in enough theaters that it shouldn’t be too far a drive if you want to see it on the big screen. While it definitely has a handful of flaws, the immersive nature of the unique experience that Greenberg and Cumming have crafted make it worth seeing on the big screen. Check it out this weekend if you have the chance.
(Out of Darkness is rated R for violence and some grisly images. Opens in theaters on February 9.)
Grade: B
Reach out to Josh Sewell at joshsewell81@gmail.com
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