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Our overall verdict "Good"

[Review] ‘The Void’ offers a distorted reality, with a disjointed narrative.
Author: Lisha Blackhurst

Finally, it’s here! The near-perfect trailer promised a nostalgic blend of wicked creature effects, combined with all the elements of a throwback to 80’s horror. The cinematography looks sleek, pristine and striking, submerged within creepy hints of disturbing cult/satanic worship. Basically, it ticked all the right boxes for me as a horror fanatic, as most of my favourite films were born in the 80s [Hellraiser [1987], Pet Sematary [1989], The Blob [1988] and The Beyond [1981] to name but a few].

The Void most certainly did not disappoint with practical effects, with some confident spectacular shots and truly grotesquely-glistening moments reminiscent of John Carpenter’s work in The Thing [1982] and Price of Darkness [1987]. Silent Hill [2006] similarities have to be made, with the triangle symbol resonating of Pyramid head, and a large section of the movie for me did pan out as if I were actively playing a horror video game. The closing sequences echoed of Frank’s physical form and Pinhead’s presence in Hellraiser [1987], followed with an impressive display of creature design in the form of a depraved deformed monstrosity, made up only of a mutated mass of flesh, that is shown to be chasing a victim down a narrow corridor. This momentarily prompts memories of the infamous monster-cenobite chasing Kirsty in Hellraiser – minus any charming wheels or mechanisms on show this time!

What I ultimately expected from The Void was a fragmented distortion of reality, and whilst it achieves this, what it also offered was a muddled, disjointed narrative. Against the superior camerawork, the screenplay feels inferior, rushed and weak. Whilst the acting is great, it falls short with the screenplay they have been armed with. The fundamental premise is sloppy and vague, the characters visceral motives and intentions are either unclear or basic; it all feels simplistic and wooden in between scenes of alluring cinematic gore. It is frustrating to watch as there are no veins of comedy, a distinct lack of originality and they seem to have lost their way and forgotten how to apply pace to create atmosphere. The result is eye-wateringly tedious.

The closing scene, an obvious nod to Lucio Fulci’s The Beyond, feels flat and lifeless, provoking no satisfaction or offering any semi-decent conclusion. This is definitely still one to look out for, if you are a true horror fan you will appreciate sections of it, regardless of its flaws, but I do hope their next project will devote more credibility to the plot, as well as devotion to the gore.

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