The Basement is a 2017 American horror film directed by Brian M. Conley and Nathan Ives. The film stars Mischa Barton, Jackson Davis, Cayleb Long and Tracie Thoms. The film premiered at Shriekfest in Los Angeles on October 7, 2017. It will receive a theatrical and digital release of 10 markets in the United States on September 15, 2018.
The Basement (2018) online news
The Basement Trailer Sends Mischa Barton Searching for Her Abducted Husband
A Los Angeles serial killer kidnaps a famous musician and drags him into a basement resembling a dungeon.
Initial release: September 14, 2018 (USA)
Directors: Nathan Ives, Brian M. Conley
Screenplay: Nathan Ives, Brian M. Conley
Music composed by: Mary Webster, Alex Kovacs
Producers: Mark Heidelberger, Nathan Ives, Brian M. Conley, Sean Decker
A man is kidnapped and he wakes up in a basement. His captor is a psychopathic serial killer who forces his victims to participate in a session of deranged therapy in which he represents different characters and characters.
Taking elements from crime and horror films like Silence of the Lambs, Hostel and Saw and putting them all together in a somber stomach, at first glance The Basement does not seem to be doing anything too original. Fans of horror have seen how a character has kidnapped a character and tortured him in different ways countless times. However, with good performances from its two protagonists and a collection of disturbingly entertaining scenes as well as a strong resolution, the low budget movie is worth it.
Focusing on the interaction between the prosperous rock guitarist Craig (Cayleb Long) and the serial killer Bill Anderson (Jackson Davis), most of the film takes place in the basement of the title, where the two perform their strange session of psychotherapy .
The film has a good line in the dark mood, thanks to the ability of Long to bring different characters from his past and play them to Craig, who in turn is forced to play the role of Bill. The current session is alternately funny and tragic, with some moments of rude torture up close.
The other sections of the movie have less luck. Mischa Barton, the best known name in this movie, is as good as Kelly, but has less time to develop her role as the wife of the late Craig. However, he does well with the scenes in which he finds himself and is part of a larger story that elevates the film in a purely simplified horror and concussion plot. His scenes with his best friend Bianca (Bailey Anne Borders) in the high luxury of his mansion in LA are very well combined and contrast with the horrors that his partner is suffering in the basement.
Although the film has a remarkably low budget, it is professionally armed and presents some good editions and cinematography. The tempo changes mainly from scenes extended in the basement to Kelly and Bianca trying to decide what to do next. Effective music and sound design also work to increase the tension little by little.
In general, given the fairly common start of the movie, it turns out to be a surprisingly decent movie. While it shows some similarities of the surface with M. Night Shyamalan’s film, Split turns out to be a very different beast, and is more in tune with crime and suspense stories than with anything more fantastic. What we have with The Basement is a horror designed to surprise and surprise. Pass the test.
The successful singer / songwriter of LA, Craig Owen, is kidnapped. While his wife Kelly and her friend Bianca try to discover what happened to him, Craig finds himself imprisoned in the basement of a serial killer known as The Gemini.
He has already killed seven people with a blowtorch, and now wants to play strange psychological mental games with his victim in which he assumes the roles of several different characters …
Occasionally, one of us at HCF tends to defend a film that fell under the radar and that we think deserves more exposure. Here is a serious killer micro-budget drama that according to some sources was made in 2017 and that at the time of writing does not have a DVD release, but in my opinion it really deserves to be seen by more people. In some aspects, it is very simple, most of it takes place in a dark room between two people.
What is essentially a two-handed game no doubt sounds very dynamic, and somehow it is, especially with the way one of the two characters continues to come out of the “stage” and then reappears, albeit with a ” attire “different time.
With a good director and the right interpreters, it would be a great stage game. However, screenwriters / directors Brian M. Conley and Nathan Ives, clearly working with a small budget, many of whom may have gone to acquire the services of the movie’s only name, Mischa Barton [do you remember her?], Too They have managed to call some changes in the serial killer formula, so that what initially seems to be a kind of fusion of Saw, The Silence Of The Lambs and Split goes down more and more by their own ways, emphasizing the psychological elements more than anything else, although that is to say there is no blood on the road.
The opening text informs us that Geminis has a dual nature, something that is only briefly important later on. Conley and Ives would have preferred to leave this and go straight to the first scene of a woman sitting at a table, covered in blood, begging her to change and do anything, although that does not make any difference to the person we now know.
Cut to look at the wall, which now turns around and seems to be holding a blowtorch. The woman shouts and we cut the title of the film in a quite deceptive scene because it gives the impression that graphic evil will be avoided. Then we meet Craig and Kelly who seem happy in their spacious dwelling. She asks him to come out for another bottle of champagne. While parking in the nearest garage, a white van that plays death metal parks next to it.
We are immediately on the edge, long tracking shots following Craig to increase the feeling. Craig receives a text message from another woman who has obviously been watching and says he can not do it before deleting his conversation. This means that it may not bother us too much when they put him in a van, although that changes soon when he wakes up in a basement tied to a chair at a table.
Enter a clown who juggles circus music on the stereo, tries to put a balloon in his mouth and punch him in the face for smoking. He also calls Billy and says he smiles all the time, but inside is a very lost soul before disappearing, and then reappears in the form of a cop with a gun.
Craig initially assumes that he is there to rescue him before he recognizes the face. The strange man still calls him Bill, but this time he asks where the bodies are. Craig does not give the right answers, then he pulls some teeth with the butt of his gun and makes him swallow them. If you are one of the many who are afraid of dentists, this shivering moment will really surprise you and may torment you more than those words “is it safe?” as Laurence Olivier told Dustin Hoffmann in the famous scene of the film. And, while much of the movie is, in fact, chat, there are several unpleasant moments that benefit from the practical effects that you will not soon forget. In this movie, they do not get scared because the kidnapper, who of course is really the one called Bill, punishes Craig every time he gets an incorrect answer, even if he’s a little bad. It soon terrifies us every time Bill leaves the basement as to which character will reappear, but then he feels differently when he talks about his terrible childhood with an abusive father of the most extreme kind. And psychological mental games sometimes become more balanced when Craig has an idea of when “Bill” should be, and when it should be someone else.
This material is sometimes intertwined with Kelly trying to find out what happened to her husband. She is convinced of the dirty games, but of course the police will not start looking for her until twenty-four hours have passed. It’s nice to have an escape from the darkness of that basement from time to time, and we’re waiting in suspense for Kelly, who knows her husband has had an affair, to find out something about certain someone that I will not describe. Unfortunately, Barton is still a Pretty poor actress and the scenes between Kelly and her best friend who are helping her to look a bit fake, although I was still involved, so I guess it’s not a big problem. In any case, things in the basement are absolutely fascinating. Part of this, of course, is due to the performers. At first I was not too in love with Cayleb Long as Craig, but it seems to improve more and more throughout the film, as if it had been filmed in sequence. As for Jackson Davis, he is nothing short of phenomenal like Bill. In fact, I think it’s better than James McAvoy who, of course, tried a similar part. I’m sure many will disagree, but I felt that McAvoy, while still very good, often seemed too much like acting. But Davis is more natural in its various parts, some of which are like some of the alter egos of McAvoy’s character, and even gets away with some funny moments that could have gone wrong.
There are no jarring fantastical elements to ruin the last quarter of this particular movie either. Interestingly, we are never told if Bill has a multiple personality disorder or if he is just having a lot of fun. For a while I was led to think he was a kind of despised actor similar to Vincent Price in Theater Of Blood, giving himself the opportunity to play several roles before a literally captive audience while doing his perverse work.
The Basement courageously does not feel the need to provide us with a great persecution or fight against the climax, although it gives us a turn that, frankly, is not necessary and that does not make much sense if you think about it. To begin with, a character’s reaction to something seems ridiculously excessive. Still, it does not ruin the fascination and even the intelligence of much of what has happened before. Bill is fully aware of his crimes, and his games with his victims act as a kind of therapy, even if the victims are forced to say something bad. He is forced to re-enact the traumatic events that have made him as he is, and to make his victim [s] and, by extension, the public feel what he, a serial killer, feels.
Therefore, the viewer is asked to develop some understanding, even sympathy, while still terrorizing this vicious murderer who may upset him if he says something wrong. The villain of this movie is able to sound the fibers of your heart and even make you laugh while it keeps you nervous on the edge of your seat. It’s a difficult balancing act, but this movie does it and the character is still credible. Meanwhile, cinematographer Kenneth Stipe gets a lot from his main location, many of his lighting settings and compositions are very cinematic despite the fact that he largely understands a lot of darkness and not much, and despite having previously worked mainly in television .