THE STORY – Riya wakes up on a mysterious planet to discover her crewmates have been slaughtered. When a man named Brion arrives to rescue her, an ordeal of psychological and physical terror ensues.
THE CAST – Eiza González, Aaron Paul, Iko Uwais, Beulah Koale, Kate Elliott & Flying Lotus
THE TEAM – Flying Lotus (Director) & Jonni Remmler (Writer)
THE RUNNING TIME – 95 Minutes
There are a great number of genres that seem to blend seamlessly together and two of them that storytellers continuously come back to are science fiction and horror. It makes sense on paper. Science fiction is typically set in futures that imagine an unknown world ripe for exploration. Said ventures are exciting to embark on, but with the unknowable comes a deeply ingrained fear. The possibilities for intellectual expansion, as well as doomed atrocities, run equal risk, playing on the human intrigue of curiosity and paranoia. “Ash” treads some familiar territory in this arena, doing so with the intention to conjure a daring spectacle with an enticing aura of dread in this fantastical environment. It’s a shame that it struggles often to maintain an engaging energy, though it has just enough standout moments to make a lasting impression.
We first meet the protagonist, Riya (Eiza Gonzalez), when she awakens in a very confused state. She gathers that she is on some outpost on a far-off planet but has no memory of any events that led her there. The habitat is damaged, and a slew of bodies suggest a violent act has just taken place. Yet, her mind holds no answers to what happened to the crew of this facility. During her frenzy, another soul happens to appear. Brion (Aaron Paul) is a fellow traveler on this expedition who has just arrived from the orbiting space station. He’s come to investigate what has happened after communication went dark, trying to uncover what went wrong. There’s little time for discovery, though, as the failing life support systems mean the two must make their way back before the window closes. Yet, Riya’s memories start to slowly resurface in brief glimpses. The further she sinks back into her subconscious, the more a terrifying truth will soon be revealed, answering the question of not only what happened here but showing an ultimate goal with horrifying consequences.
There’s absolutely no doubt that this film exudes a vibrant sense of style that can often be impressive. Flying Lotus, known mostly as a musician, drenches every frame with an array of vivid colors and a piercing sound design that aims to instill terror from within. At first, it’s an effective strategy, especially as the first moments of the film burst with trippy imagery of distorted, melting bodies that promise a captivating spectacle. However, that potential quickly dissipates into a lethargic showcase. The pacing becomes intolerable at points, and soon, the slick editing transitions and dramatic color palette become harbingers of overcompensation. Even the jumpscares grow tiresome as a means to move from the flashback sequences to the present day, so overplayed that it soon becomes tedious. The atmosphere is well-crafted, but the filmmaking seems to be in service of creating an intense sensory experience rather than delivering a compelling story with intriguing characters.
This isn’t to say that a film of this ilk necessarily needs to have the most dynamic narrative. No one would accuse a film like “Alien” to have a revolutionary screenplay. However, it’s still vital to ensure that a basic foundation is provided to make the characters engrossing, which in turn makes solving the mystery an intriguing prospect and makes it much easier to become invested in their survival. Jonni Remmler’s screenplay is devoid of these aspects, forcing the deceased crew to become bland expendables with little personality. The story instead becomes a two-hander between Gonzalez and Paul, yet both are rather ill-defined and do not particularly invite personalities to follow. Most of the storytelling is pretty monotonous and sluggish, save for the finale. It’s here when the stakes finally escalate, or at the very least, deliver more exciting set pieces that were desperately needed. The moody tone is traded for impressive creature effects that come to the rescue at just the right moment. It’s a much-appreciated jolt that truly feels like what the film mostly should have been about. It comes far too late in the story but is welcomed nonetheless.
For her efforts, Gonzalez does an admirable job of serving as the film’s central anchor, though it’s a role that has hallmarks that make it seem like it’s a more substantial part than what’s actually there. Most of her time is spent wandering around with a puzzled look on her face as the memories come wafting back, and there is a commitment to be shown for sure. But it’s ultimately in the service of a character who is never really allowed to feel fully developed, even at the finale. Paul is a gifted actor himself, but he’s given even less to do, mostly giving concerned looks. Neither actor rises above the satisfactory level, and the minor asides we get with the ensemble don’t deliver that much either. It’s particularly disappointing to see Iko Uwais in this cast and being given some half-assed fight choreography that utterly wastes his own talents. This is not a work that was ever meant to be elevated by its performances, but the actors still don’t make much of an impact on their own.
The majority of “Ash” is actually a frustrating experience. There’s so much work put into the ambiance that is truly riveting. The imagery and sonic landscape are all well done, with mention also being paid to Flying Lotus’s score and the remarkable visual effects work done on such a meager scale. However, it often feels like those elements took more importance over the storytelling, which ends up being a huge detriment. Without enthralling characters, the results amount to little more than a superb demo reel for these artisans rather than an enticing work of fiction. It isn’t until you’re just about ready to give up hope that some vibrancy enters the picture, and some thrilling entertainment is finally showcased. That, coupled with the crafts, makes this enterprise just barely worthy. It might not live up to its full potential, but there’s enough alluring material here to keep you leaning in.
