First things first, living in the UK, I stumbled across this film accidentally. Being a low-budget project by first-time feature writers/directors Justin Benson and Aaron Moorhead, it has had zero coverage on these shores. Only by delving into the internet’s darkest recesses I was able to latch on, and since watching I have sought out more about it (and, believe me, there’s quite a bit more).
So, a RESOLUTION review? For the good of the film itself it’s best if I keep this brief. Not because it’s hardly worth discussing – far, far from it – it’s just pretty impossible to even skirt around the plot points without blowing the whole caper sky high.
In the deepest sense RESOLUTION is a horror story, although to label it as such is a shame, as it is far more than that.
It all begins simple enough: Michael arrives at a dilapidated cabin on a Native American reservation, there to handcuff old friend and drug addict Chris indoors to induce cold-turkey, thus preventing his inevitable demise. To be beckoned by an emailed video of Chris (which he couldn’t possibly have sent) is only the first of many mysteries.
From here the level of foreboding slowly builds, from confrontations with drug dealers and thuggish local landlords, to stumbling upon a collection of abandoned media which suggests there are unseen forces at play. Okay, not exactly “simple”, I hear you, but easy enough to follow so far…
I’ll stop with the specifics here, you’ll thank me later, as the film’s power is created via its ever-
evolving ambiguity, and the unknown higher power which threatens to save then consume from
scene to scene.
RESOLUTION is a perfect example of big idea, low budget, and, although raw and clunky at times, it more than makes up for any flaws with talent, intent, technique, approach and a huge set of cinematic balls, as it not only penetrates the 4th wall (to coin a trendy phrase) it completely obliterates it, making us the real beast just by sitting there, watching and willing all this to unfold.
With stellar performances across the board – from the ‘straight-down-the-line’ Michael (Peter Cilella) to the superbly funny, ‘strange-I’m-rooting-for-a-junkie’ Chris (Vinny Curran) to the utterly creepy but mesmerising Byron (Bill Oberst, Jr.) – and a nicely paced stroll through an off-kilter, warped ‘reality’ make this one to see if you’re sick of regurgitated Hollywood shite.
No cheap jump-scares here, just a subtle and “simple” nod to our own insignificance.
So, money-men of the film industry, “Can we try it another way?”
Benson and Moorhead thankfully seem to think so.