Extraterrestrial (2014)
★★★ / ★★★★

It begins with a group of friends driving to a cabin in the woods. I can feel you rolling your eyes. Another one of those movies? Yes… and no. Colin Minihan’s sci-fi horror “Extraterrestrial” may not introduce new elements to the (not so little) green men terrorizing humans sub-genre, but it is apparent right from the first act that its goal is to entertain the viewers helpless. It is not one of those alien movies in which the only source of entertainment is flashing lights and visual effects. In fact, there are great stretches here that inspires the audience to glue their eyes to screen. It is ambitious, energetic, and respectful toward the horror and science fiction genres. On this level, the movie works.

Here is a story in which characters have an awareness of unidentified flying objects, aliens, and government cover-ups. Because they are young and have probably seen a lot of movies and television shows about extraterrestrials, they do not act dumb when faced with a spacecraft that crash landed. They approach the ship out of morbid curiosity but do not try to open it because they know what tends to happen when creatures inside there are not friendly. And since these characters are given at least minimal knowledge of the situation they’re in, they’re all the more enjoyable to watch. This group, led by April (Brittany Allen), is leagues ahead of similar packs in less intelligent killer alien movies.

Small decisions are made that go a long way. For example, in this picture, an alien abduction can be recorded using a cell phone or CCTV and footages do not malfunction or disappear suddenly the second it is shown to another person who doubts that there really are aliens running around the forest. Another example, which put a smile on my face, is in the matter-of-fact way the filmmakers choose to portray flying saucers and ETs. All of us have a general expectation of how they look based on popular culture and this movie delivers exactly that. They don’t bother to change the color of the aliens or the shape of their heads, nor do they alter the cliché look of the craft. They just… are and there’s something incredibly freeing about it. I felt as though Minihan and his team had more important things to accomplish—like how to make a hunt between predator and prey feel full of tension or how to achieve creative payoffs.

Alien attacks are executed with panache. Its practical effects are impressive and yet so much is hidden within or just outside shadows. Rain and lightning storms are used not just to create a creepy environment, but to make it a harder to see what’s beyond several feet away. This approach can also be used to highlight a figure standing right behind somebody—especially in regards to the timing of the lightning. There are jump scares, certainly. But there are other types of scares, too. It seems to enjoy showing us how terrified characters feel when they know with absolute certainty that no matter what they do, they will be abducted. Scream as they might, quite often there is a sense of surrender in their eyes.

The work follows a defined three-arc structure. What I liked most is that the third arc takes risks, especially now that so many horror movies these days do not even bother to offer a resolution. I hate it when the climax is reached and then the screen simply fades to black. Not here. I know, for instance, that the director is a fan of “The X-Files” because so many episodes of that wonderful show ends just like this movie: all at once it can be sad, funny, satirical, and ironic. There is a punchline; it gives us clear reasons why the writer-director (Stuart Ortiz co-writes) felt the need to tell this story. Fans of the genre will get a kick out of this independent gem.

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