WATCH THE TRAILER HERE
First, the Recap:
What is it that besets us in those times of mourning and loss? When we’ve had the sorrowful circumstance occur that steals away someone close to us, the ability to fill the void left behind can become one of tedious burden not easy to find a way through. Yet, when we DO discover a way out, the question will remain whether it is healthy for us–or anyone else. With the sad passing of their beloved Grandmother (Debbi Tucker), two siblings, Hailey and Kevin (Eden McGuire and Ben Richardson) arrive that their grandparent’s country home to be of support and comfort for their now-widowed Grandpa (Jack C. Hays). But, when the pair begin to notice strange behavior patterns emerging from him along with the conspicuous absence of his usual caretaker Rosa (Judy Triana) the mystery only deepens–and could signal something far more unsettling.
Next, my Mind:
Yet another general thought I’ve shared a multitude of times before when it comes to any film, indie or mainstream, that finds itself ultimately based in the horror category, it’s all about the creepiness factor and displaying a quietly (or, if necessary, blatantly) building sense of disturbing, eerie unease that makes or breaks it for me as opposed to the outright gore fests that some efforts lean more upon and that this critic doesn’t prefer. So, when it came to this 14-minute short from writer/director/executive producer Ben Richardson (who also happens to act in the project as well) and writer/producer/executive producer Mike McDonald, I approached it with that initial demeanor of both anticipation and trepidation, wondering what precisely I was going to witness and which creative direction everything would take. I am very happy to state that this found its home base in the FORMER of the two primary styles listed above.
What first stuck out to me in recalling the film was that it did end up feeling more like a proof-of-concept in its execution via a narrative that finds a brother and sister facing a haunting enigma involving their grandfather, a missing person, and potentially otherworldly forces. This is not to say in itself that the narrative presented isn’t complete, as that would not be a fair statement. We get a full overall portrait of a myriad of thematic ventures and intents that cover loss, coping, refusing to let go and move on, dealing with the ghosts of what’s past plus, in this case, delving into some undisclosed means that make attempts to keep memories of that which has been lost remain tangibly experienced. It simply felt like for all we are privy to and witness here, there’s enough to satisfy while leaving you wanting MORE. This does make this particular critic hope there could BE further exploration of this narrative in the future, whether via feature film or continued shorts.
As mentioned above, I perfectly enjoyed the more subtle but still effective levels of gradual apprehension and unnerving atmosphere the story and visual presentation creates, not remotely giving anything away while more than letting you know SOMETHING is absolutely going wrong. Granted, it may cause you to clearly ascertain certain concepts and glean a few expected outcomes, but it’s still doing it in a way that I felt was smartly engineered and delivered so as to gain the needed air of ominousness, inducing JUST enough of intentionally muted chills in you as the viewer to then truly CRAVE wanting to learn what’s going on. Even as the story begins to enter that realm of revelation, the lead-in to the finale and the subsequent sequence that follows really feels more like just the START of events and hence why the primary “weakness” here was WISHING for things to keep going rather than reach the end credits scroll. Intelligently utilized camerawork and music is KEY here, and both play very well into HOW we watch everything unfold.
Hays very much reminded me of a slightly less immediately unhinged (but no less wonderfully apropos and deliciously understated!) version of the character from M. Night Shayamalan’s “The Visit” through his role as Grandpa, a man reeling from the loss of his wife and trying his best to find comfort in the recollections of who she was while maintaining a routine that is nothing short of unsettling. Seemingly not willing to let go of his lost love, he continues a simple ritual that soon raises the suspicions of his visiting grandchildren, which may or may not end up upending his newly set ways of coping. It’s an exercise in very purposeful but primarily veiled menace that exudes from the characters calm exterior and unassuming manner, and the way Hays portrays it allows for the right amount of the earlier indicated creepiness to come out while keeping you guessing about what the character is really up to, and for this critic it’s a testament to Hay’s acting chops to present a character who’s so affable yet undeniably threatening.
McGuire and Richardson work well in combination with each other to precisely presented effect through their roles as siblings Hailey and Kevin, the two grandchildren who’ve simply come to visit and watch out for their grieving grandpa. Hailey, with her overtly caring heart for him, tries to be a voice of lighthearted comfort and compassion even as she begins to witness his odd behavior yet doesn’t push her grandfather to explain his actions. Kevin takes the more direct approach once arriving to the home (and after Hailey shares her concerns) even as Grandpa’s initially placid protestations about his routine being altered or spoken against slowly starts to boil and explode a little more intensely. Once the siblings show frustrations with it all, it sets off the chain of moments that will define the next phase of things for all of them. Again, both McGuire and Richardson employ solidly conveyed emotional volatility, infused into their respective characters to the right degree in order to make what ultimately happens that much more impactful and pertinent.
Supporting roles are provided by Tucker as Grandma and Triana as Grandpa’s caretaker Rosa. The rest about them you must watch the film to learn their part to play. So, in total, “A Little Dead” employs the exact methodology and stylistic process that could make a GREAT genre film if allowed to expand JUST a bit more, still managing to give us an oh-so-sweet taste of what could be and what we hope is yet to come down the road. It’s a story that illustrates how we battle the proverbial specters of pain and lament over what we no longer have and how we choose to deal with while also giving us a glimpse of things more sinister. So, come to the table, pull up a chair, and join in. Glass of water or wine anyone?
As always, this is all for your consideration and comment. Until next time, thank you for reading!
Insightful and literate reading of this film. So precisely do you have my reaction to it, after seeing it now three times, I applaud your interpretation. The cinematography, music and editing gave it much more weight, seeming to be more there than was on the screen. Bias Alert: I painted the poster art illustration.
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