Text © Richard Gary / Indie Horror Films, 2017
Images from the Internet
Lake Eerie
Directed by Chris Majors
Savage Beast Films / Solid Weld Productions /
FilmRise / Gravitas Ventures / MVD Visual
FilmRise / Gravitas Ventures / MVD Visual
103
minutes, 2016 / 2017
Let me start of by stating that the name of this
film is brilliant, and I wonder why I’ve never heard of anyone else using it.
Kudos on that!
When I think of Lake Erie, I tend to think of the New
York end of it, having so many friends along it’s east shore. In actuality, the
Great Lake touches on four states (not counting Ontario to the north): Pennsylvania,
Ohio, and Michigan. It is the latter, in the town of La Salle, where this was
both filmed and takes place (in the family-owned domicile of the director). It’s
a huge house just off the lake, in this story recently bought through a repossession
auction by a young woman who has moved off the farm to forget the recent death
of her husband. Having been abandoned and untouched since 1969 when its previous
dashing anthropologist owner mysteriously disappeared, it gives the widow, Kate
(Meredith Majors, the director’s spouse who also wrote the screenplay), a way
to start over and get some therapy through painting (and a large amount of
prescription pills apparently, considering the number she downs in the course
of a few days).
Meredith Majors |
Soon after she is given the keys by the realtor
(Marilyn Ghigliotti, who rose to some fame as the female lead in Kevin Smith’s
overrated 1994 debut, Clerks), most
people in the area have already packed up from the Lake for the season (i.e.,
post-Labor Day). That is, except for the nice lady who lives a few doors down,
Eliza (Betsy Baker, who will forever be associated as the demonically laughingLinda in 1981’s classic The Evil Dead).
I quickly
got the heebie-jeebies about her, just from the constant use of her calling
Kate “Dear.” Not a good thing for a neighbor in a horror flick having to do
with spirits and demons (1968’s Rosemary’s
Baby comes to mind).
Sadly, this “tell” is endemic to the writing of the
film, which makes questionable moves throughout, even when trying to strike
some originality. More on that later. Kate makes many, many, questionable choices. For example, on the first night, she is
on the main floor and sees a huge and unknown man (Allen Sarvin, better known
as wrestler Al Snow, who has been making quite a nice dip into the indie horror
film market) in a cowl and cape in her living room, and does she run out the door,
which is rightthere? No, she runs
into the kitchen to grab a long knife, high-tails it up the stairs, and then takes a pill and promptly goes to sleep to
have a sex dream about her husband and another woman. In the morning light,
does she contact the police? No, she goes on with her day calmly and has some
muffins with Eliza. Whaaaaaaaaaaa?!?
Annemijn Nieuwkoop |
I won’t go into much more of the story, as this is
all still the first act, which ends with the introduction of Eliza’s niece,
Autumn (Danish actress Annemijn Nieuwkoop, who also goes by Anne Leigh Cooper),
who is obsessed with Harrison (director Chris Majors), the archeologist who
used to own the joint.
There are some definite issues with the story,
which is quite lackadaisical in its approach. I mean, if you need to grab a kitchen
knife two nights in a row (your first
two nights) – once because of the big dude and another after a nekkid woman (Victoria
Johnstone) rises from the lake and goes into your house – and then you go speed
upstairs and fall asleep after taking pills, rather than getting leaving the
house – even after a kinder spirit tells
you that you are in danger and to get out…twice – then it’s hard to feel some kind of empathy for that
character.
Lance Henriksen |
It’s nice that the story tries to throw the “Is it
real or in her head?” motif, which always is a fun twist. Here, we are given
that by the appearance of Kate’s Pop (legendary Lance Henriksen, who pretty
much sleepwalks through his one scene, and still manages to steal it), who wants
her to come back to the farm because he thinks she needs help.
Actually, what Kate needs is, well to be honest, acting lessons. This is
Meredith’s (since both star/writer and director have the same last name, I will
be impertinent and use the first) initial starring film role, and she does not
seem to be up for the task. She looks cute in an everywoman kind of way with a
smack of a Jane Alexander vibe, but her acting is, well, wooden. I’m betting
she’d be fine in a best friend or neighbor role, but she cannot carry a film on
her own at this point in her career. What I mean by that is that she looks like
she is wincing when trying to emote, and you can almost see her thinking (i.e.,
pausing too long) between showing a feeling or speaking a line.
Betsy Baker |
But she’s not the only one, to be fair. Most of the
cast seems to be polar opposites in either being in a daze or a bit over the
top, such as Nieuwkoop; though to be fair, the part written for her is as an
avid fan of the previous owner who disappeared before she was even born, though
she comes across more as a chipper and giddy teenaged-level cheerleader than a
true scholarly researcher as she claims. Again, you can tell from the dialog
part of this is definitely how the role was designed. She’s kind of the reverse
of Henriksen’s underplayed role. I do have to say, that despite the “dear”
business, Baker comes off the most competent (and I’m not saying that because
she’s exactly two days older than me), although the role itself is clichéd.
There are few surprises in the story, including the
conclusion, but for me the biggest problem here is in the editing of the text.
I’ve said this a number of times regarding other films as well: rather than
being well over an hour and a half, it would have behooved the writer and
director to narrow it down to about 80 minutes. Considering the long stretches
where nothing really important to the story happens, this could have been done
with no ill effect on the plotline (please, if you can’t do text chopping, give your ego a rest and call
in someone who can!). Yet with all that extra time, there are still plot
questions that arise that haven’t been answered.
For example, if you’re dealing with an eternal
ancient Egyptian underworld/eitherworld, why are the guardians/demons dressed
in modern clothing, rather than galabeyas at the least? I mean, I have my own
from when I visited Egypt back in ’93, so shouldn’t the snake-eyed guardians of that place
have them as well? Also, on a feminist perspective, considering this was
written by a woman, why is the only nude scene a woman, and not including Kate’s
husband? These were just two of the many questions that ran through my head
during watching the film.
The only DVD extras are chapters and English
Captions (always a fave of mine). And yet, the nagging question that remains at
the end is, surprising to me as hopeful, will there be a sequel called The Eerie Canal?
Great well thought out critic. I like the bits of trivia you added and the noted from a feminist perspective.
ReplyDeleteThank you Lady Shasha! And for those who don't know, check out her own horror film review site:
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