THE VOID, appropriately enough, starts with a void. It also starts as a taut, tense suspense horror but disappointingly becomes too derivative and something far less in its final act. Cult psychos without, Lovecraftian horrors within; the film is at its strongest evoking an eerie underlying weird or showing off its impressively realised practical body horror. Coming at you much like ASSAULT ON PRICINCT 13 by way of David Croenenberg, the film doesn’t go in for jump-scares or things hiding in the dark, but sustains unnatural imagery and depicts triply waking dreams becoming manifest as a source of tension. I haven’t the foggiest what’s supposed to happen in the last ten minutes of the film, but maybe we’re not meant to know. The Void is bewildering, it’s inconsistent, but it’s fascinating and memorable as well. SSP
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I'm not paid to write about film - I do it because I love it. Favourites include Sam Mendes, Guillermo del Toro, Bong Joon-ho, Steven Spielberg, Danny Boyle, Spike Jonze, Rian Johnson and the Coen Brothers. All reviews and articles are original works owned by me. They represent one man's opinion, and I'm more than happy to engage in civilised debate if you disagree.
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