Indie Film Review “The Guard Room” A grass roots horror/thriller journey into duty, cover-ups, human curiosity, and the need to know the truth
WATCH THE TRAILER BELOW:
First, the Recap:
The things we do to make ends meet. We can all find a relatable element when it comes to having to pay the bills. More so, perhaps, what it sometimes takes to do so, often having to be willing to take on a job that is less than desirable. Just putting in the time, getting a paycheck, and trying to believe that things might improve for us, we plug away. Yet, what happens when that which seems so mundane takes on a whole different path that is FAR less than anything we’d actually wished for?
In a very rundown warehouse district, new third shift security guard Hilda (Olga Molina) simply wants to get paid, but still do a good job. With a training officer Lucas (Michael Fredianelli) who is less than an inspirational figure, and effectively with nothing truly going on during her shift than boring routine, Hilda settles in enough to bear with it. However, when a jarring truth comes out, it ushers her into much more frightening scenarios she now MUST know the answers to….no matter who, or what, might attempt to prevent (or HELP??) her!
Next, my Mind:
I am going to make it clear from the start that micro-budget cinema is a tricky thing to pull off, and yet is an arena independent film tends to not just rely on when needed, but often EXISTS within. Over the years of covering the overall community, and having opportunities to watch this level of filmmaking, STORY becomes even MORE imperative to maintain a sense of engagement. Now, combine this with the ever-fluid concepts found in the horror genre, all of its highs and lows as far as stylistic explorations, and you add another dimension of risk, at least in my opinion. So, when we take a look at this indie feature film from writer/director/producer/cinematographer/editor Michael Thordarson and weigh said factors, for this critic, it becomes a definitive mix of totally applauding effort, but having a more hesitant feeling about the grander whole.
Through a narrative that sees a new third shift guard at a less-than-ideal location confront everything from boredom to (slowly building) bedlam, I would be lying if I said the pacing in itself was consistent enough to keep my attention FULLY immersed in it. I do not remotely mind a slow burn approach, mind you. Often, character-driven storytelling can THRIVE on it. Here, I think knowing this was being classified as a horror film, I wanted things to escalate into that realm with a tad more expediency than it ended up delivering. Again, I am not saying you don’t need character development and those instances of quick “jabs” of suspense and mystery. It’s THERE, but just not quite impactfully enough. Plus, this was also aiming to have a thriller aspect to events as well, which WERE present, but again, seemed somewhat “muted” to me as opposed to being a little more blatantly gripping or wholly intense.
There is so much INTENT being conveyed with the elements of both horror and thriller that were being strived for, and I once more must at least give credit to the efforts to bring this to life. Sometimes it DOES work, other times it felt just TOO predictable or even “forced”. I just think the narrative and its presentation needed to be more….”amplified”….as it were. There is a bit of humor thrown in, too, mainly between the lead characters of Hilda and her mentor Lucas, and there is most assuredly entertainment value to be had. But the aspects that were supposed otherwise be scary or freaky don’t really HIT like they could or should have. Thematic forays into dead end jobs, desperation to do something we actually enjoy, how human curiosity added to the desire to seek answers to things we must know about can be both a blessing and a curse, plus standing firm for what you want to achieve in pursuing something, even if it costs you, all get looked at here.
Visually, as one might expect on a lower tier budget, the film is quite spartan, sometimes the locations being what they’re supposed to be seeming inconsistent (even confusing?) somehow. BUT, I won’t FAULT the film for this either, because hey, you work with what you’ve got and just attempt to maximize it best as possible, which I DO feel was acheived. The finale did carry an admittedly cathartic air and more than perfectly befits the narrative’s course. From what I could tell in looking up Thordarson’s filmography to date, this is only his third adventure in feature film territory, so I personally give kudos to him for just going for it, continuing to delve into the ways to improve on his art, reflecting that dogged perseverance and passion to MAKE films that the indie realms excel at so proficiently.
From an acting standpoint, which for me is an artistic accomplishment to begin with, the film carries itself well enough, providing us characters that ARE relatable, most certainly grounded, and credible for what is required here. Molina conveys an “everywoman” with adept ease, eliciting a foundational sense of support we as the viewer wish to provide her character through the role of Hilda. Just trying to make ends meet while taking on a less-than-desirable, but easy position as a third shift security guard at a local warehouse district location, Hilda’s idealistic outlook on life and being “by-the-book” lends itself to her duties. With little to worry about, everything appears normal outside of some random encounters with local homeless (aka; “unhoused”) people, Hilda settles in. However, even as her personality often clashes a bit with her mentor Lucas, other events begin to become known that will severely alter all she would have ever anticipated with the job.
How Hilda handles an ever-building series of revelations will dictate her subsequent actions and further illustrate her core desire to find truth, expose iniquity, and confront some other forces she has never faced before. It’s a solid performance that had certain moments I felt might have been JUST a touch melodramatic or otherwise lacking evident emotional punch, but still well done overall. Primary supporting turns arrive first from Fredianelli as Lucas, a veteran guard and Hilda’s mentor at the facility whose combination of playful charm and relative indifference to many things is tempered by a harsher attitude that could belie an otherwise harmless demeanor. As events unfold, Lucas may be a man with FAR more to reveal, and Fredianelli portrays this ever-fluctuating air his character possesses with well-executed poise.
Michael Nosé is Patrick, the morning shift guard after Hilda, whose grasp of the English language in tandem with a VERY conspicuously present “do-gooder” approach to things could lend itself to Hilda’s benefit as things start to spiral. Mirabel Miscala is Iris, one of the local “unhoused” who has a few key run-ins with Hilda as she does her routine perimeter checks each evening, and who could be a catalyst for Hilda’s knowledge of recent happenings she was initially unaware of. Sherill Quinn is Charlotte, who is undeniably a major player in things as truths come to light for Hilda leading her to start digging into past occurrences, and who might have agendas of her own that she’s wishing Hilda to…assist…her with. Holly Conroy is Sarah, a rep from the security company’s headquarters who get wrapped up in the dire events beginning to manifest when Hilda comes around wanting more and more answers to as of yet undisclosed facts.
Jeremy Tinaco is Lance, another security guard from the home office who soon has a keen interest in Hilda’s constant “investigating” of the warehouse facility’s recent history. Additional supporting turns arrive fromRylie Decocq as James, a former guard whose own past is yet one more facet of the events unfolding which Hilda has taken interest in, Robert Paine as Benjamin, James’ father, Steve Tanabe as John, a “heavy” associated with Charlotte, in addition to Kathy Grachek as Nora, Allan Lazo as Carter, Michael Castaneda as one of the “unhoused”, Trent Avvenire as local police offer Ozzy, and Marlene Garcia via voice only. It’s an ensemble cast working together to do the best possible job of ensuing each character’s part to play is seen, understood, and made to be integral to the story. Decent work across the board and I feel a testament to just how NOT easy the art of acting truly is.
So, in total, “The Guard Room” strives to makes its enigmatic atmosphere of horror stick out, not perfectly, but with a genuine degree of purpose and aspiration that does at least deserve acknowledgment as it emerges from its indisputably grass roots origin point. I keep stating it, and I DO mean it….it takes a LOT to MAKE a movie. So be at least willing to ATTEMPT to look beyond production flaws or shortcomings enough to comprehend the HEART of filmmakers who take the time to TRY. Because there is NO doubt a lot of people TALK about endeavoring to do this kind of creative journey, but how many actually DO, much less in a manner that reflects it was realized to the best ability they had. THAT alone is praise-worthy.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
