REVIEW: THE CONFINED.
THOMAS J. O’BRIEN stuns as multi-faceted and loyal Landry, starting out as witty and sarcastic and ending up stuck in his own nightmare.
“Former SS Officer George Gale was given sanction in the United States at the end of WWll. Although that war was over, his was just beginning.”
After that brief synopsis and the opening title screen, we are greeted by what looks like a drone shot of an old building and the dusty muted coloring of the scene. I can always appreciate a good gradient block in post (production) and with most indie projects, the quality is never really quite there.
THE LIGHTING. HOLY SHIT, IT’S DARK IN HERE.
But where others (not all) have failed, The Confined succeeds. However, the brightness needed to be turned up, along with the contrast in almost every scene in this film. Whether it was day or night. I found myself having to adjust my laptop enough times to realize that it wasn’t my PC. This can also be seen on the trailer inside the building.
The only scene that was really bright enough, was the building scene. I’m not sure if this was the quality of the camera, or just what was done in post–but that’s a definite problem in a lot of television shows or indies these days. Even big-budget things have had complaints of not being able to see squat in darker scenes.
I don’t know if these were carefully picked out for each character, or if they were just what was on hand, but they truly are unique for each actor. With the coloring of the scenes, particularly the blues and greens pop the most. I’m a sucker for costumes, especially if they were tailored the right way and picked out with care.
The glasses on our main character, Landry were a nice touch. Enter Thomas J. O’Brien, sporting a lanky Adam Scott wardrobe, scowl and all. Not to mention, he is the only wise one when it comes to checking out an abandoned building that might not be that abandoned in the first place.
I can always appreciate cynical and intelligent characters that don’t go with the flow of the naive, greedy dare-devils.
IT WAS A DUMP. IT IS A DUMP. WHY ARE WE HERE?
The tried and true problem of human nature. Greed. Let’s go to a creepy ass building with a terrible and grim history and wander around its halls. But it’s worth the money, right? To who? Ghost hunters?
HERE IS WHERE OUR COLOR POPS.
This is a particularly unique seen cinema rarely has. Rather than the character seeing it in person, or on some creepy camera, Landry witnesses the grisly murder of another character via a projector. Complete with the count-down number screens before it.
The reds really feel like the director wanted to be passionate here, and you know–it’s supposed to remind us of blood. But the scene is so palpable, you can taste it.
This was giving me major House on Haunted Hill (1999) and The Shining vibes. Right down to the old projector mechanics and the axe. Without giving too much away, the film bleeds through like an old negative on the screen.
LET’S EXPLORE THIS DUMP.
Naturally, after watching someone die, you want to go explore the dark, creepy space. What I like here is that they had a camera inside of a cardboard box, and you can literally see Landry looking inside of it. This was creativity at its best and I implore any new horror or indie directors to think outside of the box (no pun intended) with little things like this.
DID EVERYONE MAKE IT?
You’ll have to watch and find out. This is one of the few times we’ve seen a final guy instead of a final girl. Maybe…
Directed by Christopher Picone, and written by Darren Wallach with a pulsating score that doesn’t give you the cheesy factor, this is a good flick if you have five minutes or so for some demons to eat your brain.