WATCH THE TRAILER HERE
First, the Recap:
The lament of a burdened soul. In the aftermath of tragedy, there is the blame placed on oneself and that placed on others, all of which collides to create within a desolation that plagues the spirit and mind, often a catalyst for further choices that lead to even more sorrow. Yet, despite this evident torment, some choose to simply bury it deep and move forward, always aware of what lies within, trapped by ghosts and, sometimes, myths both figurative and horribly real. It only remains to be seen what happens when the innocent get caught up in its wake. It is 1846, and three men–Oliver (Alex Hassell), Jim (Graham Butler), and Cailean (Fisayo Akinade)–are soon to discover this precise notion.
Weakened, wounded, and adrift after being shipwrecked by freakish circumstances, their desperation to hang onto hope is answered upon an island appearing seemingly out of nowhere to rescue them from watery isolation. Upon landing and trying to ascertain their situation, the trio meet resident Fingal (Dickon Tyrell) who provides shelter and rations to the harried men, likewise calling upon local farmer Douglas (Conleth Hill) and his enigmatic neice Lanthe (Tori Butler-Hart) to lend hesitant aide. As the men regain their strength and desire to learn more about their rugged oasis, strange occurrences begin to manifest that call into frightening question every concept they have about the island, it’s occupants, and the ever-present melody floating on cold winds, calling each to follow–but why–and to where?
Next, my Mind:
It’s the perfect blend of character-driven drama with an intentional, slowly building eeriness tinged with Celtic-inspired fantasy and Greek mythological undertones that deliver constant tension, chills, and atmospherically haunting beauty to this 96-minute indie feature film effort from writer/director/producer Matthew Butler-Hart and writer/producer Tori Butler-Hart. Maintaining mystery throughout while revealing its evocative scares and ultimate thematic intents precisely when needed, sometimes blatantly other times with magnificent subtlety and purposeful surprise, the narrative centering on the potentially unfortunate experiences of three shipwrecked men and the supposed island of salvation they happen upon is the exact style of affecting horror/thriller this critic personally longs for more of with its utilization of well-developed but neatly straightforward storytelling, ideal physical locale for the events to unfold, the smartly conceived pacing throughout, and some equally practical but hugely effective special effects that so deftly provide the supernatural elements present with a conclusive amount of spectral, otherworldly punch without going over-the-top. It’s the design and manner of this execution that works more on the mind to create that air of unsettled, shift-in-your-seat ominousness I feel was fully aimed for here, and highly achieved.
Yet, when one looks beyond the surface fictions being displayed, and this is always the wonder of indie film for me, there are the realizations of the very human tale and topically relevant ideas being conveyed, as the narrative could been seen as an exposé on self-inflicted betrayal, the consequences of jealousy, hate, rage, and the evil deeds men can initiate when in their grasp, the potency of sorrow and utter despair, and ultimately the price paid for choosing to try and just live with the ramifications of malicious actions done by others in order to believe that will resolve conflict and bring peace. With this film, those ideas are given life via flashback sequences that flesh out the grander scope of why current circumstances are happening with the characters involved in the present, and it becomes far more than apparent how choices made have brought about nothing but consistent, ongoing, terrifying results which only one additional decision can undo. As mentioned earlier, it’s also a study in how those who are completely blameless get swept up by it all and often end up being the ones to suffer. Visually, as hinted above as well, the film is gorgeous thanks to fantastic cinematography and the ethereal splendor of Eilean Shona in Scotland providing the wave-struck shores, rocky, grass-infused crags, and almost uncannily spooky forests that cleverly suit the film’s preternatural account. Likewise, Tom Kane’s Celtic-inspired music score stirs the soul and adds the emotionally-charged heart to every scene its a part of from opening credits to end.
Ensemble films are a favorite of this critic, as they offer the chance for many actors to stand up and shine, and here was no exception to that. With a fortitude and manner of toughness that fit the character excellently, Hassell brings to life Oliver, the de facto leader of three men left shocked and worn after their ship encountered a strange mist that lead to disaster. Trying to be the bastion of calm and collected authority despite being wounded from their initial ordeal, his nerves get pushed to the limit as harsh incidents, an illicit affair, and ghostly happenings begin to unravel his sanity, making him wonder if any of them will get off the island alive. Hassell brings a grounded, intense performance to bear as Oliver that adds to the realistic tone the film brings about. Butler also excels in his role as Jim, a man already well beyond frazzled in mind and spirit who becomes one of the first to begin hearing things and wanting to know more about their island habitat. However, his explorations soon lead to more and more disturbing visions and encounters that might become his undoing. Soon the biggest proponent of wanting to abandon the island for more civilized realms, it’s only a matter of time before things truly weigh down on him, and he seeks out Oliver to hatch their escape plan. Butler really captures the disconcerted manner of Jim’s character to a “T”, making us as the viewer wholly in agreement with Jim’s anxiousness to simply leave the island.
Next up, Akinade creates a more reserved, logic-driven character in his enacting of Cailean, whom we get the feeling may be more of a servant to the ship he had been on, but now has more of an equal say amongst the three survivors, even as they all strive to take in the island that has become what they’ve believed would be a temporary stopover in their plight. Cailean, like Jim, becomes more curious about the island to the point of going out against warnings from Douglas to see the island for himself. Yet, it is a choice that could be the harbinger of doom for him as well. Throughout, Akinade’s calm then increasingly edgy demeanor and precise delivery help make Cailean’s character unique and necessary. Tyrell very much impresses here as Fingal, the island’s first resident the hapless trio encounters, and who becomes the first person to cause them to hesitate when showing his reluctance to discuss any notion of them leaving, how it could happen, and what factors they need to be wary of while entering into the little “community”. Even his interactions with the islands other 3 residents causes the men to pause and truly wonder what exactly is transpiring, and Fingal’s constant behavioral quirks keep initiating more and more suspicion between his guests. Tyrell absolutely nails the dynamic the character needs to bring about that needed aura of creepiness Fingal carries.
Hill shines forth as island farmer Douglas, a hearty, tank of a man whom we can tell is no one to be trifled with. His immediate disdain when asked to have the three castaways stay in his home is not remotely hidden, and it takes more than a fair share of convincing (and perhaps the promise of some run) to gain his permission for them to abide there, still making it clear the rules and what to do and not do. But, we end up seeing what his part really is in the island community’s history, and it paints a sobering and scary picture of misdeeds and their outcomes and Hill just provides that intimidating presence that exquisitely befits his character. Tori Butler-Hart is captivating as Lanthe, Douglas’ neice who is more than excited about the arrival of strangers and the initially veiled reasons why this is the case, always seeming disquieted and easily agitated, yet then seductive towards one man in particular. She is hiding a nature that we only get glimpses of and the full magnitude of what it means and how it impacts and influences her actions is revealed in pieces even as her means to try and keep the visitors from leaving may be brought on by outside forces beyond her own control. It’s sublimely fun to watch Lanthe’s transitions occur between the facets of her character we get to be privy to, and Butler-Hart is both scary and alluring as this character, which is so beautifully apropos given the story being told.
Alix Wilton Regan gives a faultlessly astute performance as Korrigan, the other of the island’s four primary denizens who’s anything but sane. Her initial appearance is alarming in itself, directing spiteful sentiments towards Fingal for his trying to “keep” their new guests for himself, while secretly trying to conspire with Lanthe as to what they wish to do with the three young men they now find in their midst. The days move by and Korrigan’s freaky obsessions are given a revealing light that illustrates just how connected she is to Lanthe and another more sinister presence. Wilton throws everything she is into the intensity and fervor the character exudes and it’s a highly noteworthy performance to see someone play unhinged so well. Finally, there is Emma King in the highly pivotal double role as Lorna, whose story of tragedy only marks the beginnings of what will become a saga of death and curses upon any and all who find themselves in the path of the new identity she’s been taken over by, Persephone, a name from legend whose entire purpose is to be a messenger of demise. What makes King’s performance stand out so much for me was watching her embody the total innocence of the beautiful Scottish woman Lorna was and then be transformed into an overtly menacing, vengeance-driven entity like Persephone. The nuances of King’s physical and emotional metamorphosis from character to character is a tangibly resonant force to be dealt with, and she does it with efficient poise and marvelously delivered acting that endears us to the character in both forms, though seeing her in full-on Persephone mode is flat out amazing and scary!
Additionally, primary supporting turns arrive courtesy of Joe Bannister as Jacob, Fingal’s son whose fondness for Lorna years ago signaled a then-unknown conflict that would culminate in heartbreak and sorrow, and Ben Lee as Billy, Douglas and Lanthe’s son whose own nefarious actions lead to bitter consequences for years to come. Other supporting appearances are made by Louis Devereux, Robert Parry, Paul Waddington, Flint MacCraig, Hughena MacPhee, and Monty the dog. In total, “The Isle” represents the best in everything there is to love about intelligently creative and artistically well-executed, emotive horror that I do truly wish to witness more of from across the Pond, especially from the U.K., Scotland, and Ireland as there’s just something specifically engaging with their approach to narratives steeped in Celtic or other mythologies and how they address it that captures my imagination and chills my spine every time. Here, it is the lessons about harboring dark secrets and the even darker calamities they can birth while reminding us of a foreboding fairytale and why we should be afraid of dark, whispering voices, and unnatural melodies on the wind.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
While this critique has created some furore on the film’s release, Chang has said that his review had been taken out of context and turned into a “battle cry” on Twitter, adding, “I wasn’t offended; nor was I looking to be offended”.
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