★ / ★★★★
John (Christopher Soren Kelly) was ordered to have no contact with his daughter, Emma (Quinn Hunchar), after an ugly custody battle with his wife’s parents. Come nightfall, Emma’s consciousness was abducted by a deformed creature named Ink. Ink’s plan was to use Emma as a sacrifice and earn his status as an Incubus, a powerful being who had the ability to give people nightmares. Several Storytellers (Jessica Duffy, Jennifer Batter, Eme Ikwuakor, Shelby Malone), whose jobs involved giving humans positive dreams, and a blind Pathfinder (Jeremy Make) tried to locate Ink and return the girl’s consciousness to the land of the living. Written and directed by Jamin Winans, “Ink” snagged my attention with ease because it had ambition. Its first half-hour was effective because of the way it introduced key players such as the Incubi and Storytellers. The contrast between good and bad dreams was simple but I appreciated that it paid close attention to details. The content of dreams tend to vary with age. For instance, an elderly lady dreamed of winning Bingo multiple times while a young boy saw himself as being a rock star playing his guitar in front of rabid fans. But the film became less compelling as it focused on John’s failure of being a father. When he learned that his daughter fell into a coma, his initial reaction was not to see her immediately. He claimed to love his daughter, but he couldn’t get past the fact that he lost the custody battle which happened years prior. The grandfather actually begged him to see Emma but John was more worried about his next big meeting. The writing lacked complexity so John’s reaction didn’t feel emotionally honest. His character arc seemed infantile at best. I place particular emphasis on the human aspect of the film because the father-daughter relationship, or lack thereof, was the emotional core of the picture. It should have been well-defined because it was supposed to be the element that held together subplots like the war between Incubi and Storytellers. As for the scenes involving martial arts, there were far too many of them. There was no variation in the location of physical confrontations. The actors moved but they seemed stuck in one place. I understand that there were budget constraints, but there are certain ways to make it look like battle scenes naturally progressed from Point A to Point B. Instead of another martial arts scene, I yearned for a quiet moment that explained a Pathfinder’s purpose. He just looked foolish with, literally, tape over his eyes. He was supposed to be a key figure in rescuing the little girl, but I couldn’t take him all that seriously. If he didn’t have tape over his eyes, I imagined he would’ve winked at the camera for some kind of approval. “Ink” did not work as a movie, but it could have worked as a short-lived television show. Its screenplay did not match the level of its ambition.