It's impossible to talk about The Empty Man without mentioning *that conclusion*. It doesn't come out of left field, per se, but it certainly feels like it does, at least on a first time viewing. Having had 48hrs to think about it, the feature (very) subtly alludes to its ending, but in the 'blink and you'll miss it' kind of way. It's an ending that takes pivotal moments from the narrative, and spins them on their head, and having the rug pulled out from under me, when I was 100% invested in the feature until that point, was incredibly jarring. The Empty Man has a brilliantly unique concept, with a fabulous pace, a likable protagonist, and a shudder-inducing mystery, that kept me rooted to the spot. However, again, the conclusion took everything I was rivetted with, and forced me to reconsider it, and still, I am grappling with the question; am I happy with that narrative decision?
The Empty Man technically has two beginnings, the first being a lengthy prologue sequence that introduces us to the film's concept, something that initially seems to have little connection to the over-arching narrative, but is revisited later. This sequence drags out the tension, in a spine-tingling fashion, until, like an elastic band, it snaps, summoning us into the present. James Badge Dale is a fantastic character to root for, as ex-cop turned private detective/gun store owner Lasombra, who is ridden with guilt over a family tragedy, the nightmares he constantly suffers plaguing not only him, but the viewer, in the best possible way, increasing the suspense. As the story unfolds, as does the taught mystery behind his agony. When Amanda (Sasha Frovlova), the teenage daughter of Nora (Marin Ireland), who Lasombra shares a past with, inexplicably goes missing, he agrees to help find her, after the police chop up the behavior to something akin to angsty rebellion.
Though occasionally briefly showing other characters, who typically only have surface level characterization, Lasombra is the film's center. This is fantastic for us, the audience. The film is, essentially, crafting an original urban legend, and through the eyes of the lead, we can investigate, both Lasombra and the audience being along for the same ride. Lasombra is a believable, sympathetic character, often making rational choices. One moment, he literally says 'nah-ah', and high tails it out of there when crap gets too real, and I perfectly agreed with his decision. As he investigates deeper and deeper, all roads lead to a strange organization, who possess an uncanny fascination with summoning otherworldly beings, through the power of thought and meditation.
At over two hours, the film might seem alarmingly long for a horror feature. Au contraire - not once did I feel the movie was going longer than it ought to, and, it, moreover, may not be right to dub this a ' horror' at all. It isn't particularly scary, though there are a couple of good scares. What the film does expertly well however, is create an atmosphere that punctuates dread, and more than once, I felt genuine chills, and a sense of lacking security, as I entered further into the world that director, David Prior, creates. I equally enjoyed the vibe, akin to Pellington's The Mothman Prophecies, which accompany the visuals. In the aforementioned film, shots linger on settings, props and characters that allude to the titular character's shape and silhouette, and a similar concept was used in The Empty Man.
The entity itself, like any good supernatural mystery, has much of the answers left out of arm's reach, the film never dumbing down the narrative, demanding that audience's become absorbed in the product, and make up their own mind. That said, the lack of definite answers, in a genre (or sub-genre) that tosses out answers like they are going out of fashion, could be a jarring choice for some. This is a smart film, which isn't overly reliant on blood to get its story across. It's beautifully shot and edited, which only aids in hooking you, to the point that you are not taken out of the film - until, again, *that conclusion*. That is what I meant in the title of the review ~ a 'killer' ending, as this may be what kills the film for some viewers. That said, The Empty Man makes teddy bears creepy - and any film that can pull off that accomplishment, is absolutely worth a viewing.
In all seriousness, to talk about the feature in greater detail would begin to spoil what should not be discussed before an actual viewing, and the less you know before seeing this, the better it will be. Recently, I have been going into movies with zero expectations, and I would recommend that here, because whatever you expect - The Empty Man will do something else entirely. I'm not sure I would say 'disappointment' described my feelings leaving the movie. 'Perplexed' might be a better word. However, am I perplexed enough not to watch The Empty Man again? Absolutely not. In fact, not only will I totally re-watch it, and soon, it's the first film I've seen in a long time that I cannot stop thinking about. No matter how you feel, just like the Empty Man itself, this movie will have you thinking about it - just don't go summoning any otherworldly abominations when you do.
The Empty Man technically has two beginnings, the first being a lengthy prologue sequence that introduces us to the film's concept, something that initially seems to have little connection to the over-arching narrative, but is revisited later. This sequence drags out the tension, in a spine-tingling fashion, until, like an elastic band, it snaps, summoning us into the present. James Badge Dale is a fantastic character to root for, as ex-cop turned private detective/gun store owner Lasombra, who is ridden with guilt over a family tragedy, the nightmares he constantly suffers plaguing not only him, but the viewer, in the best possible way, increasing the suspense. As the story unfolds, as does the taught mystery behind his agony. When Amanda (Sasha Frovlova), the teenage daughter of Nora (Marin Ireland), who Lasombra shares a past with, inexplicably goes missing, he agrees to help find her, after the police chop up the behavior to something akin to angsty rebellion.
Though occasionally briefly showing other characters, who typically only have surface level characterization, Lasombra is the film's center. This is fantastic for us, the audience. The film is, essentially, crafting an original urban legend, and through the eyes of the lead, we can investigate, both Lasombra and the audience being along for the same ride. Lasombra is a believable, sympathetic character, often making rational choices. One moment, he literally says 'nah-ah', and high tails it out of there when crap gets too real, and I perfectly agreed with his decision. As he investigates deeper and deeper, all roads lead to a strange organization, who possess an uncanny fascination with summoning otherworldly beings, through the power of thought and meditation.
At over two hours, the film might seem alarmingly long for a horror feature. Au contraire - not once did I feel the movie was going longer than it ought to, and, it, moreover, may not be right to dub this a ' horror' at all. It isn't particularly scary, though there are a couple of good scares. What the film does expertly well however, is create an atmosphere that punctuates dread, and more than once, I felt genuine chills, and a sense of lacking security, as I entered further into the world that director, David Prior, creates. I equally enjoyed the vibe, akin to Pellington's The Mothman Prophecies, which accompany the visuals. In the aforementioned film, shots linger on settings, props and characters that allude to the titular character's shape and silhouette, and a similar concept was used in The Empty Man.
The entity itself, like any good supernatural mystery, has much of the answers left out of arm's reach, the film never dumbing down the narrative, demanding that audience's become absorbed in the product, and make up their own mind. That said, the lack of definite answers, in a genre (or sub-genre) that tosses out answers like they are going out of fashion, could be a jarring choice for some. This is a smart film, which isn't overly reliant on blood to get its story across. It's beautifully shot and edited, which only aids in hooking you, to the point that you are not taken out of the film - until, again, *that conclusion*. That is what I meant in the title of the review ~ a 'killer' ending, as this may be what kills the film for some viewers. That said, The Empty Man makes teddy bears creepy - and any film that can pull off that accomplishment, is absolutely worth a viewing.
In all seriousness, to talk about the feature in greater detail would begin to spoil what should not be discussed before an actual viewing, and the less you know before seeing this, the better it will be. Recently, I have been going into movies with zero expectations, and I would recommend that here, because whatever you expect - The Empty Man will do something else entirely. I'm not sure I would say 'disappointment' described my feelings leaving the movie. 'Perplexed' might be a better word. However, am I perplexed enough not to watch The Empty Man again? Absolutely not. In fact, not only will I totally re-watch it, and soon, it's the first film I've seen in a long time that I cannot stop thinking about. No matter how you feel, just like the Empty Man itself, this movie will have you thinking about it - just don't go summoning any otherworldly abominations when you do.