Directed by Alexandre Aja
Starring – Kaya Scodelario, Barry Pepper, Ross Anderson
The Plot – A young woman (Scodelario), while attempting to save her father (Pepper) during a Category 5 hurricane, finds herself trapped in a flooding house and must fight for her life against meat hungry alligators.
Rated R for bloody creature violence, and brief adult language
– Thrill ride. This is easily one of the more intriguing sits that you will endure in 2019, and while most of that has to do with a consistency in thrills and stimulating sight gags, the smooth and rapid pacing developed from an 83 minute run time more than feeds into this circumstance. Whatever you say about this film, boredom certainly won’t be one of the nominated verbs, as this film’s constant fluidity leaves very little slow spots of exposition in between these moments of surreal horror that harvest a hybrid of entertainment between the screenplay’s hip personality that conjures from these very tense and horrific moments of horror curriculum. A film that doesn’t lag is difficult to come by, but “Crawl’s” biggest strength is in a story that flows as fast as the deposited water that leaves our characters stranded.
– Grave urgency. Speaking of that condemning rain, the gradual rising of this element not only feeds into the claustrophobia of this diminishing setting, but also outlines a visual reminder of the limited time-frame that these people face, perhaps illustrating a bigger adversary than even that of the alligators that surround them. Considering the screenplay does a great job in remaining focused on the characters and their predators, the blink-and-you-miss-it rising of this virtual hourglass of sorts increases before our very eyes, adding a completely different element of danger that isn’t as easily escapable as something that can be hurt or killed. This for me was the biggest and most rewarding antagonist of the film in terms of weight to the adjacent story, and brings forth a level of creativity of escape for the protagonists that was previously unforeseen.
– Story above storm. The problem with disaster films are often the necessity to substitute valuable characters for riveting storm sequences, and while “Crawl” does have an inescapable presence to its methods of mother nature, it’s the character building and backstories that I appreciated more than anything. As especially is the case with this father and daughter dynamic, the screenplay initially hints at a level of distance between them that evolves terrifically into a fully fleshed out narrative, giving us the audience extreme indulgence in the form of characters who we can grasp and understand the intentions behind their dangerous decisions. While I did have problems with Scodelario’s character and her overall performance, which I will get to later, the established backstory that is slowly revealed between them in candid flashback sequences more than solidifies an interest in their well-being that makes films like these all the more rewarding for my investment into them.
– Consistent theme. Further feeding into the film’s depth, the script has an obvious intention of feeding into ones past, and the negatives that come with constantly reveling in it. I won’t spoil anything important here, but this whole conflict starts because of the father’s road trip to his family’s former residence, which represents the happier times between them, when all was copacetic. Beyond this, every character, big and small, is dealing with the regrets of the past. Some in the form of immense mental blocks that leave their success in sports hindered because of the mental luggage that pins itself to them, as well as the way other supporting characters bring up their former significant others in moments that don’t necessarily require it. This burden that our characters face constantly feeds into every one of their motivations, bringing forth a couple of epiphanies along the way that are earned because of the dire pressure of their current conflict.
– Special effects. This element surprised me more than any, as the believability and weight established between storm influence and computer generated reptiles wasn’t as equally present in the illustrations within the trailer. Clearly another production rendering took place here, as the seamless dimensions and designs on display more times than not impressed me, and was made more apparent because of articulate measures along the way that prospered their consistency. For one, the cinematography by Maxime Alexandre, as well as the movie’s overall lighting scheme points to a weathered, grainy visual capacity that crafts opportunity within its darker frames, making it all the more difficult to zero in on an obvious weakness within the generation. Most of the storm is human-created elements, but the sky itself is computer generated, and left intimidating by its thickness in clouds and darkness in color, that never needed a skull to channel its intensity (See “The Hurricane Heist”).
– Aja’s devilish direction. You cast a man like Alexandre Aja to helm your film if you want a barrage of blood with a non-relenting atmosphere that persists like a rapid heartbeat, and while this film doesn’t reach the levels of blood or gore on something like previous Aja offering “The Hills Have Eyes”, it does manage a level of intensity that barely ever has time to breathe within the environment that he created. In addition to this Aja’s claustrophobic lens offers a combination water level, underwater, and alligator trailing sequences that conjure up the variety in shot compositions that shoots the action from many unnerving levels. But fear not horror hounds, as there is a solid offering of snapped limbs, bloody bites, and jump scare thrills that frequently remind us of the deacon of direction, who elevates a film like this if only for the hell that he puts his characters through.
– Clever joke. Beyond Aja’s stylish execution, his ability to instill a sense of dark humor is also a trait that he wears with pride, and his insertion into the film’s intro is one that made me laugh and roll my eyes equally, with unabashed glee. Upon our initial introduction with Scoloderio’s character, we learn that not only is she a college athlete swimmer, but she goes to the University of Florida, a school known for its prestigious mascot that plays quite an intended irony on the film’s future. The mascot is of course the gator, and this obvious level of foreshadowing is certainly the perfect litmus test for any audience curious to gauge the kind of atmosphere and attitude that they will soon be neck-deep in.
– Inconsistent sound mixing. Not only does the shallow sound mixing attain a level of manipulation within its audience, it also drops the ball frequently on the engaging nature of a storm that otherwise should swallow us whole. One example of my problem stems from the alligator’s abilities to move in and out of frame with such a lack of weight that makes them feel like a feather when they sneak up on these humans. Likewise, the spotty splashes of rain come and go in a way that makes it feel like the storm has subdued, despite the fact that the water from within this house continues to rise in elevation. If the sound mixing is shoddy, the disaster film that contains it won’t feel as imposing on the heat of the storm, and while visually we are shown no shortage of urgently impactful imagery, the lack of balance in the audio capacity proves that its production isn’t equally up to the task, leaving too much weight of presence on the field of imagination for us the audience to vividly fill in.
– Unlikeable protagonist. While the storytelling outline for this family was rewarding in keeping me invested to their well-being, my disdain for Scoloderio’s performance and overall direction was something that constantly kept me annoyed in her demeanor. For one, this woman’s closed personality all stems from divorce. That’s right, something most of us go through, and we’re supposed to justify her rude behavior because of it. She’s condescending towards her family, un-invested with her friends, and arrogant in moments where it feels like a lesson should easily be learned. In addition to this, Kaya’s dialogue does her no favors in articulating the proper emotional tug to give us goosebumps from her situation. As an actress, she’s alright, but all of her character’s that she has played in movies rub together, leaving no semblance of depth or distinguishing to showcase her skill.
– Leaps in logic. So much here to unload, but everything from laws of physics to human lung capacity is tested here, giving me several moments of unintended laughter that didn’t line-up so well to the film’s mostly serious tone. Humans can apparently outswim alligators, alligators can disappear and re-appear without hearing them, Scoloderio’s character can apparently hold her breath under water for over two minutes in real time, and so much more. There are also measures that could easily be taken to end this threat within ten minutes, but because of the sake of the already brief 83 minute run time, the necessity to pan out the sequence of events and overlook easily taken measures that any idiot could fathom, giving us frustrating scenes in logic that could easily be omitted if the screenwriters did the necessary studying in preventing what people like myself already know.
My Grade: 7/10 or C+