Tribeca 2018: The Dark Review – Atmospheric Zombie Horror Done Different
Starring Nadia Alexander, Toby Nichols
Written by Justin P. Lange
Directed by Justin P. Lange
The zombie subgenre often goes through waves where it focuses on one aspect that changes the status quo before overdoing it completely. Romero’s slow shuffling zombies were the norm until we got fast moving zombies with Return of the Living Dead and 28 Days Later. There was even a period where we had smarter zombies, like in Fido and Warm Bodies. Now it seems like we’re about to enter an era where the undead are meant to elicit emotion, making us feel for those who have no feelings themselves. Such is the case with Justin P. Lange’s The Dark.
The film follows Mina (Alexander), a young woman who was murdered and stalks the forest that saw her demise. Anytime some unfortunate soul enters her area, they are quickly dispatched and become her feast. But when she stumbles across a young boy named Alex (Nichols) in the back of a car who shows signs of clear and horrifying abuse, she can’t bring herself to do away with him. Rather, she becomes his protector while trying to protect her own little world. As police and locals search for Alex to help bring him home, their own growing relationship seems to be changing Mina in ways she never thought possible.
Stylishly shot by cinematographer Klemens Hufnagl (The Eremites, Macondo), The Dark lives and breathes along with the forest in which it spends the majority of its time. The film feels very natural, as though no artificial lighting was used and we are brought into the world in which these characters live. Steel blue washes over the screen as dusk turns into night while light and dark contrast during the day. The only visuals that didn’t play well were Mina’s undead look and Alex’s scarred eyes, which were both distracting but possible to be overlooked.
Both Alexander and Nichols performed well enough, although the film spent too much time on the first two acts of their story, their combative phase and then the period where they build trust, leaving them scrambling at the end to show that they not only trust but are reliant upon each other. Alex finds trust in Mina after his horrific ordeal while Mina’s choice to protect and guide him sees her humanity slowly coming back.
Where the film goes awry is that it doesn’t know how to convey its message. We learn that Mina’s death was the result of a sexual assault by her mother’s boyfriend, who can barely look Mina in the eyes, turns violent. Alex’s captor is also a man of violence but that’s mixed with weakness and timidity. This is a theme throughout the movie, where the adults are wicked and/or self-serving and it’s only these teenagers, who certainly have endured a fair share of suffering, can be seen as worthy of empathy and understanding.
Also present and enough to stay in the back of my mind while watching The Dark were the strange and inconsistent ways it handled time. We learn that Mina’s death was several years, possibly more than a decade, prior to where we see her now. But when presented with an iPhone, she first doesn’t know that it has a history of previously made calls and then, without anyone explaining it, she knows exactly how to use it. Meanwhile, Alex’s scars on his eyes, which the movie hints were done by his kidnapper, suggest that he’s been held captive for months if not longer but the the opening of the movie suggests that it’s been a few weeks, at most. While not overly distracting, these are certainly issues that pop out.
These faults aside, The Dark is still effective and emotionally charged. With enough kills to satisfy the bloodthirsty, it will certainly have an audience who love films about the undead but are craving something with a different taste.
Poignant and original, The Dark is not without its flaws. But it sure does know that horror doesn’t have to be solely of the flesh. It can just as easily be horror of the heart.