Starring Adam Johnson, Tim Torre, and Taylor Foster
Written and directed by A.T. Sharma
Terror Films
The “based on actual events” assertion that horror directors have been slapping across their films ever since Leatherface’s penchant for fashioning clothes out of human skin helped launch the slasher genre with 1973’s The Texas Chain Saw Massacre. It’s a ploy that will die a hard-fought death – should it ever die at all. But if the recent commercial success of the exploits of a cocaine-addled bear has taught us anything, it’s that no matter how loose the interpretation, when horror is ensconced in reality, we sit up and take notice.
HYPNOTICA ventures into the metaphysical realm of demonic possession and mounts its “reality” claims on the whole of purported possessions instead of a single occurrence. Trying to carve out space in a field that’s been dominated in recent years by hit franchises like The Conjuring and The Nun is a tall order, but A.T. Sharma’s directorial debut offers up an interesting take that, while far from perfect, blends all the necessary elements of a good haunting with a curious explanation for an uptick in exorcisms.
Oliver Reese (Adam Johnson, Yellowstone) has repressed a whole lot of unsavoriness stemming from his childhood, and now those ghosts have returned to wreak havoc on his adult life – or at least make it interesting in ways he just can’t explain. From playing the piccolo to being able to converse in multiple languages, Reese is a well-rounded kind of guy. But his life is in shambles. He’s an emotional wreck, and his family has fallen apart. In an attempt to eke out some semblance of normalcy, he turns to psychiatrist Mason Kenney (Tim Torre). When traditional treatment fails, and Reese refutes doctor’s orders to seek out counsel from other practitioners, Kenney uses hypnotism in the hopes that putting his patient under will finally bring some resolution.
HYPNOTICA’s strengths far outnumber its faults, and both lie within its delivery. Reese’s troubles come to light through multiple therapy sessions, so expect to spend a fair portion of time inside Dr. Kenney’s office watching him lull his patient deep into the void. Fortunately, the director keeps each occurrence fresh and interesting by toying with the ambiance through lighting effects, extrinsic threats and the inventive use of a single set that prevents the film from ever feeling stale. Reese divulges his tribulations through spoken word accounts (intermingled with dialog and sound effects) while he’s subconscious. That lessens the overall impact of what is seemingly some pretty heinous stuff that would’ve made for some great shots, Still, the moment’s intentions are never clouded. Johnson’s portrayal of Reese nails the mannerisms of a man whose world is crumbling. As Reese’s counterpoint, Torre’s Dr. Kenney operates in hard extremes. One minute he’s a psychiatrist concerned about his patient’s well-being; The next, he’s a paranoid workaholic husband who pushes his wife, Cassie (Taylor Foster, Criminal Minds), away with gusto. It’s not Torre’s acting that’s the issue, but that his character is written drawn in black-and-white shades of emotion that make him difficult to digest. Why would someone so prone to mood swings enter into a vocation like mental health care?
From the opening moments, there’s no question as to HYPNOTICA’s genre, but getting to the spooky stuff requires some patience. Not in the slow burn sense, but more so that when bad things happen, it’s only vaguely suggested that otherworldly trouble is afoot. What strengthens the case is a shortened run time that clocks in at a lean 75 minutes, credits included, and it’s all the better as a result. Aside from the lengthy hypnosis sessions, the director does an excellent job at building out an eerie atmosphere through brief glimpses of creepy children, gloomy skies, and effectively placed visually disorienting scenes. A bleak atmosphere seems like the perfect backdrop to the story of a man lost and another lost in how to help him.
HYPNOTICA works more often than it doesn’t. Its climax may seem silly but nonetheless effectively wraps up a capable story in a way that feels like a warranted surprise. And, as previously mentioned, an end-scene discourse that draws parallels between misdiagnosed mental illness and evil spirits should lead the inquisitive to ponder the discussion in depth and perhaps even rewatch it with a newly informed perspective. Improving awareness of a real-world problem is never a bad thing, and if takes a solid demon possession piece to get us there, then consider Sharma’s latest a wise time investment.
HYPNOTICA premieres on digital on March 31.
