Glasgow Frightfest – Film Review – Night’s End (2022)

Ken Barber has cocooned himself inside his new apartment as a result of his extreme anxiety disorder. Interacting with the few people in his life by video chat his only tactual company comes from taxidermied birds and carefully cultured orchids. That is until an axe-wielding phantom reaches out to him from beyond the grave. Desperate for revenue he exploits the haunting on social media and unleashes an unholy terror of hellish evil.

Talented director Jennifer Reeder turns her feminine gaze upon the horrors of compromised mental health in this chamber piece of misdirection and arcane mysticism. Shot in just 13 days for under $500,000, it marks a distinct change of direction for Reeder both in of resources and gender perspective.

It was also made during extreme COVID regulations and as such the film is a potent reflection of both the challenges of lockdown and the inherent durability of filmmakers. Charming and playful in its enforced minimalism Night’s End rocks a respectful John Carpenter vibe that prefers to understate than over-reach.

Spending his days in a downward spiral of ritualistic repetition Ken is a sympathetic character enslaved and incarcerated by his crippling agoraphobia. The seemingly selfish behaviour of deserting his children and surrendering to the compulsive routines that have paralysed his quality of life are really just coping mechanisms in the face of profound mental anguish.

As we are drawn further inside Ken’s protective bubble we begin to empathise with his decision-making as a survival strategy rather than self-indulgent apathy. A man who has lost confidence and autonomy after a severe nervous breakdown and a damaging brush with alcoholic self-medication. Forced to make emotionally compromising sacrifices to preserve the integrity of his safe place.

It’s an uncomfortable dive into the paranoid seas of phobia that derives audience engagement through honesty and rawness. When the ghostly happenings intensify Ken’s methodically constructed loneliness exacerbate the palpable sense of helplessness.

Although the depiction of a crumbling psyche under the strain of an anxiety disorder is a powerful one, it is never patronising. Nor does the entertainment value play second fiddle to the important issues raised during the schlocky shenanigans. The filmmakers exhibit an intent to explore the complex mental fallout of recent lockdowns but are equally committed to providing genre fans with a hair-raising modern ghost story.

Chicago playwright Brett Neveu’s witty script harnesses his theatrical origins to dictate the pace, inflection, and intimacy of the picture. The remote interactions feel authentic and the characterisations are well rounded considering the brevity of backstories and compact runtime.

Utilising the Chicago arts scene to the full Night’s End is blessed with a diverse cast of striking quality. Geno Walker gives a performance of controlled humility that gives Ken the vulnerability and stoicism required to make us root for him. Comedic social commentator Felonious Munk is great value as Ken’s long-time friend Terry. He is both Ken’s prime anchorage point to reality and the catalyst for the chain reaction that will shatter his fragile world further. Real-life husband and wife Michael Shannon and  Kate Arrington are fabulous as Ken’s ex-wife and her new partner Kelsey and Isaac. Shannon in particular is clearly having a blast as self-confessed cheeseball Isaac.

There is also fine work from Chicago Fire‘s Daniel Kyri as the brilliantly named Dark Corners. A charismatic internet paranormal investigator who highlights the consumptive nature of those willing to hawk the spiritual suffering of others for clicks and kicks.

Acerbic and dystopian Night’s End creates an atmosphere of claustrophobia and dread with its transcendental electronic score from experimental outfit CoastalDives and creepy sound design from Jason Culver. In of tone, the movie comes across at times like a blend of Black Mirror and The Twilight Zone and fans of either will find much to enjoy.

The COVID experience altered our perceptions of normality and for a time recalibrated the parameters of filmmaking. Horror flicks have always mirrored any sea changes in society and thus we have witnessed the emergence of a small but significant subgenre – the lockdown horror. A worthy companion piece to Benson and Moorhead’s electrifying Something in the Dirt, Night’s End stands as a testimony to both the mental chaos of a global pandemic and the creative resiliency of our species to engender art in the face of adversity.

★★★★

Occult Horror/ Psychological Thriller| USA| 2022 |18| 81 mins |Glasgow Frightfest World Premiere  | SHUDDER| Dir. Jennifer Reeder| With: Geno Walker, Michael Shannon, Kate Arrington, Daniel Kyri, Felonious Monk

NIGHT’S END WILL PREMIERE ON SHUDDER ON MARCH 31ST