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REVIEW: The Void

March 31, 2017

Director: Steven Kostanski, Jeremy Gillespie
Screenplay: Steven Kostanski, Jeremy Gillespie
Starring: Aaron Poole, Kenneth Welsh, Daniel Fathers, Kathleen Munroe, Ellen Wong
Runtime: 90 Minutes

 

★★★☆☆

 

The Void is a delightfully nasty throwback to the body horror-centric gore pictures of the 1980s, where ungodly creations were brought to live entirely through the use of practical animatronics and in-camera effects.

 

Much like the works of John Carpenter – quite specifically Prince of Darkness – directors Steven Kostanski and Jeremy Gillespie use their feature as a platform for their special effects abilities first and foremost. Using the foundations of a Lovecraftian influenced story, of tentacled machinations from the unfathomable dimensions and earthy pits, they dwell on the fantastical corruption or infection of the body. The practical work on show in the form of these creatures is spectacular to witness in a way that will plug right into the pleasure centres of any Fangoria reader or lover of sticky horror cinema.

 

The shame is that the directors can prove their ability fully in their technical abilities, with some creepy frames and compositions of real wonder and strong shapely foundation, but when the chaos hits the camera becomes frenetic to the point where it’s hard to appreciate the extensive makeup work on show through an onslaught of strobe lights and darkened environments.

 

The plot itself is basic enough to follow with ease although uneven in tone and over-reliant on coincidental circumstance, though the character backgrounds are filled in gradually with ease and no easy explanation as to the creatures true intentions as supernatural forces descend upon the abandoned hospital setting. The performers are adequate and suited to their roles, even if not afforded a great deal of emotional stake beyond one or two significant moments of narrative clarity.

 

The Void isn’t an exceptional work, but it's an original one none the less that makes the most of its small-scale budget and foundations, and an enthusiasm for the craft of old-fashioned melting monster gore fests.

 

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