So this is it. The last review of the year. Maybe a few people read some of these, and maybe someone saw a movie they wouldn’t otherwise have seen. Maybe not—all I can do is write ’em. And to round out the year, I’ve chosen a film that embodies some of the sentiment and ideals of this column. Written and directed by Hotlanta trio David Bruckner, Dan Bush and Jacob Gentry, “The Signal” is low-budget horror at some of its recent best. A noble attempt from some of the best up-and-comers around, “The Signal” suffers through its growing pains to come across as a genuine and heartfelt scare flick.
It’s New Year Eve. In the midst of the preparations for the night’s festivities, an unknown signal begins transmitting on all phone, television and radio channels in the small town of Terminus. Once exposed to the signal, people lose all reason and logic and become bloodthirsty, yet fully cognizant, killers. Our story follows two illicit lovers, a vengeful and insane husband and residents of an apartment complex intent on celebrating the new year, regardless of the bloodletting going on outside.
Each of the three writer/directors is responsible for one-third of the final film, which is presented as three separate “transmissions” of the signal. Distinct shifts in tone and style, from the realistically sentimental to succinct comedy to capable but stylish traditional horror, keep the audience on their toes. The consistency of character and story in each director’s segment offers a close look at the effect of directorial authorship in the feature film. Shot on HD for the reasonable price of $5 million, “The Signal” shows signs of its modest roots while hinting at a much, much larger budget.
“The Signal” also carries the social commentary found in many horror staples (à la “Dawn of the Dead” or any other Romero entry to the category). The world is twisted by the corruption of the digital age and constant media bombardment. Perhaps the film’s most interesting aspect is its intelligent inspection of mindless violence. Unlike the mindless, and thus characterless, zombies of the recent “28 Days Later,” the killers of “The Signal” remain conscious and aware as they commit their vicious murders. Without sense and logic people turn instantly aggressive upon slight provocation. Use of stylish subjectivity literally puts the audience in the position of the confused but hyper-violent characters, offering a slasher movie with some actual character motivation and development.
While “The Signal” is far from perfect, and its creators don’t quite have a concrete grasp of the medium or the story they are trying to tell, it rolls across the screen with an original script, fresh but capable acting and some of the genuine heart it takes to make a real movie. This film works because it tries something new and comes damn near accomplishing its goal. I think “The Signal” is representative of some of the current trends and critical changes emerging in the fairly stagnant world of contemporary American film. Unique production style and, for once, an original story place this only slightly tarnished film among the year’s best.
If you’ve read any of these reviews I hope you’ve enjoyed them and perhaps learned something, or at least seen a good movie. If you like these reviews and want to read them even in the absence of The Argus, check out www.iheartpress.com for more film reviews and comments during the summer months.
3/5 STARS
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