#Stuck at home reviews movie
That’s a neat trick in a movie that could use another one. Every shot is a veritable sandstorm of digital grain, soundtracked to a steady analog hiss and swirling around itself until static backdrops flicker into Rorschach-like terrors and something as banal as the dark spot on a bedroom wall starts to seem like a portal directly into hell the harder you squint, the scarier it gets. Any clarity beyond that is hard to come by: Shot on a Sony FX6 and “gritted to within an inch of its life,” Ball’s $16,000 debut is a sea of fuzz so dark and dense with secrets that the texture of the image itself becomes the film’s greatest source of tension, as well as its primary subject. That may sound like a run-of-the-mill horror premise, but cinema has always been more a matter of “how” than “what,” and the opening shots of “Skinamarink” immediately make it clear that Kyle and Kaylee’s home is a long way from Blumhouse. There’s a naked Barbie doll stuck to the ceiling, and sometimes a strange voice beckons Kaylee to follow it to her parents’ room upstairs.
#Stuck at home reviews tv
Making things even more unsettling: All of the doors and windows to the outside world are gone, the TV is set to a menacing loop of public domain cartoons from the 1930s (which double as the movie’s primary light source), and the toilet keeps glitching out of existence (if the video game “Control” is ever adapted into a film, Ball should be the producers’ first call). Set in 1995, “Skinamarink” is technically about two little kids - 4-year-old Kyle and his 6-year-old sister Kaylee - who wake up in the middle of the night to find that their dad is missing, their mom is… also not there (“I don’t want to talk about mom,” Kaylee says), and strange noises are coming from the second floor of the non-descript Edmonton house where they live.
‘Bad Things’ Review: Queer ‘Shining’ Is a Refreshing Twist on Slashers If the final product amounts to a fucked-up tone poem rather than a full-cooked meal - an inscrutable, 100-minute nightmare that proves its own concept at the expense of developing it further - that uncompromised sense of experimentation also helps to demonstrate how vital horror movies can be at a time when the rest of the film world is too scared to try anything new. Or a slow cinema version of “Paranormal Activity” that ditched jump-scares for pervasive dread, maintaining the disembodied camerawork of a found footage film while inverting the formula to show a domestic possession from the house’s POV.Ī micro-budget phenomenon that leveraged a fortuitous leak into the kind of buzz that an indie film can’t buy, Kyle Edward Ball’s deeply unnerving “ Skinamarink” might be too indebted to YouTube horror trends to feel like a sui generis genre-changer, but this is still the sort of movie so committed to its own strange language that it’s best translated through references to more familiar work.
Imagine if someone made an entire movie out of the last shot of “The Blair Witch Project.” Or a creepypasta remake of “Home Alone” steeped in the ineffable fear a young child would feel if the rest of their family abandoned them in the middle of the night.
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