WATCH THE TRAILER HERE
First, the Recap:
Extremes to sequester ourselves from that which we don’t want to engage with. We can all attest to how the world at large can be overwhelming to both body and mind, wearing us down, causing us to only wish to be totally separate from it in order to simply live as we wish and have no true concerns. But, in seeking this kind of isolation when one’s mentality and proclivities are already well beyond abnormal, highly disturbing even, what good does this isolation truly manifest? Somewhere in California, three people are beginning to see what happens when frantically trying to be away from a fractured society and the price paid for it, especially if the trio is made up of an OCD-laden serial killer named Jordan (Tony Gorodeckas), his rather “out there” wife Lynn (Teresa Suarez Grosso), and their seemingly innocent housekeeper “Loopy” (Noor Razooky). As their situation spirals, the question will be asked–can ANY of them actually survive this?
Next, my Mind:
If you hear the combination of character types mentioned above, one almost might wish to believe it’s the beginning of a joke including the next phrase stating “all walked into a bar”. But, this is FAR from “typical humor” or a cliched story when it comes to the indie feature film effort from writer/director/producer/cinematographer/editor/composer Tony Olmos and producer Tony Gorodeckas. Taking its primary cue from films that encompass the horror/thriller genre that are then mixed with DARK comedic moments for at least a little “levity”, make no mistake that this is a superbly raw, unapologetic, jarring exposé on severe dysfunction, the perils of economic and societal collapse, the equally harsh realities of what abject sequestration can cause to come into existence, how it can all enhance and agitate shattered mindsets that have been boiling under the surface, and the ultimate fate it could dictate for anyone and everyone caught in its gathering ramifications.
It’s not an exaggeration to make it sound this extreme, even when played to specific points for the absurdity it really illustrates and the subsequent way you cannot help BUT chuckle at the engineered instances where “mirth” IS placed within the context of events depicted, as the narrative which is focused on the aforementioned individuals above and their constantly building descent into madness is purposefully and admittedly deftly conveyed in a manner you won’t soon forget. It isn’t MEANT to remotely be light-hearted material here, folks, and the film does its best to provide us WITH several scenarios featuring visual horror elements that are full-on slasher movie bloody when they come about, yet at TIMES are ALSO where the (we might emphasize again–DARK) humor is paired with it. Let’s face it, though, how can you really expect anything less when one of the main characters IS a serial killer after all, much less one who wants TOTAL control—but is assuredly LOSING it. Plus, to then have to face (truly, involuntarily) going back out INTO the world they’re ALL trying to abscond from–I mean, what could POSSIBLY go amiss with that??
Yet, let’s look beyond the surface and then, if being completely honest, we see just how adeptly thematic tangents are explored, covering those baseline ones mentioned earlier but that also delve further into mental health, OCD, body shaming, lack of constructive stress management, the twisted/warped mentalities other people might actually embrace and/or believe and gravitate to when life is in distress, the sheer state of chaos the society really IS at this time, notions of our nation’s wayward youth as “the future” of America, how we tend to try and hide or make up for our insecurities and perceived/real faults through actions that not only damage us but others as well, and the utter deconstruction of a “family” unit are all facets we could pull from this film as well. For this critic, this isn’t at all my favorite or preferred STLYE of horror (even with the “comedic” aspects), so there were plenty of times where it was a bit difficult for me to imbibe the gory visuals and even atmosphere the film invoked. By the time we arrive at the finale, suffice it to say, it does emphatically prove this was NO fairy tale!
In looking into the acting, this is where I find myself needing to put aside my generalized hesitations about the overall film as indicated above and state that I was wholly entertained by the cast and their performances which undeniably befit the aura the film elicits. First up was Gorodeckas as Jordan, a deeply unsettled, narcissistic, control freak of a serial killer whose entire reality does revolve, in HIS mind, around, well, HIM! Always coming across as “THE ONE” in total control over his surroundings and people who inhabit it, a sudden alteration in this reality begins to slowly but definitively upend his M.O., causing him to spiral even as others closest to him begin to rebel against him too. The wonder of watching this occur is very much due to the deliciously (plus borderline diabolical! LOL) gleeful energy and bravado that Gorodeckas infuses into the character, making him a person to totally despise yet strangely feel–sorry(??!!)–for in spite of his nasty habits and grander demeanor. Again, a testament to the actor’s skills here.
Grosso brings a different magnitude of fervor to her role here as Jordan’s LONG-suffering yet still mostly compliant wife who really just longs to return to ANY sense of “normalcy” in life, or at least to any potential extent possible given the nature of her husband and his–choices–of release. Heavily into New Age remedies, painting as a stress reliever, and just being generally quirky, Lynn may soon find she will become more a pawn and/or victim to Jordan’s ever-growing frayed mindset and choices while also garnering the disapproval of Loopy as well. It is an amusing performance to witness throughout, and Grosso certainly earns her stripes given the volatility the character endures. Then we have Razooky as the couple’s ALSO long-suffering housekeeper they’ve nicknamed “Loopy”, a young woman of actual intelligence who has had about enough of them both, even as her OWN involvement with Jordan in particular is anything but pure and innocent servitude.
Trying her best to gain the upper hand on both Jordon and Lynn as their circumstances come crashing down with a resounding thud, Loopy soon devolves into an entirely shattered mess of pent up malice that threatens to get unleashed at a moment’s notice when finally pushed too far. How THIS all plays out is, frankly, both understandable AND disturbing, with Razooky milking (and I personally feel most likely RELISHING) every declining moment to turn into a unhinged monster thanks to the events the character finds herself in, and it IS a hoot watching Razooky go full-on insane through Loopy! Primary supporting roles arrive from Brian Patrick Butler as Loren, a hapless local man who has the “luck” of running afoul of Jordan, Kayla Schaffroth as Rhianna, Jordon’s hot secretary at work who shares his rather–unnerving–views of the world, Kelly Potts as Alex, Jordon’s boss who likewise may not exactly like how that business relationship turns out, Vicky Nguyen as Vittoria, a local barista who has the “good fortune” of having attracted Jordan’s attention, and Elizabeth Lawson as Sonia, another possible casualty in coming to know Jordan.
Additional supporting turns are given by Mark Atkinson, a homeless man with some choice words for Jordan, Tomas Navarro as Chuy, a local drug dealer, George Jac as Tico, one of Chuy’s drug den denizens, along with Sandy Nissou, Arlena August, Emiliano Arevalo, Savannah Hayworth, Miguel Perez Herrera, Lexsy Aviles, Brian P. Butler, Jack Emmel, Chunzi He, Kathryn Mayer, Susannah Milan, Kevin Osbourne, Ted Caplaneris, Stephen Coe, Alexander Robinson, and last but not least, Kona Koka-Nut the Stoner Dog. So, in total, “Continuance” is a blunt force exercise in straight-up insanity paired with legitimately valid statements about the state of our current society and the upheaval it has wrought, wrapped in a coarse horror/thriller/DARK comedy shell that will leave its mark on you–whether you want it to or not. Folks, this IS indie cinema in all its fearlessness and unflinching attitude. Accept it or leave.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
