Review: The Quantum Terror

 Text © Richard Gary / Indie Horror Films, 2022
Images from the Internet

The Quantum Terror
Directed by Christopher Cooksey
Mesmer Films; Christopher Moonlight Productions
79 minutes, 2022
www.facebook.com/quantumterror 
https://christophermoonlight.gumroad.com/l/The_Quantum_Terror

Want to get my attention about a genre release? Well, there are lots of ways, of course, but one is to mention HP “Lovecraft-inspired.” Yes! Bring me some of those tentacled Old Gods.

The focus of this story is on Silvia Carroll, who is missing (but not with Meagan). She and her creepy stoic boyfriend, Jacob (Matt Blackwell) were star graduate student researchers at the local university (Miskatonic was not mentioned; there is also no indication of it being in New England, as this is filmed in Kyle, Texas), under the direction of the wonderfully named Dr. Rathbone (Dimitrius Pulido). Seems they were studying the tunnels of their town that branch off a road overpass above a stream, and she disappeared. Silvia’s twin sister, the thick-make-up-wearing Sam(antha) (cute Kristin Cochell), is on a quest to find her missing sibling.

Jordan Michael Brinkman, Kristin Cochell, Paula Marcenaro Solinger

Also in the equation is the police in the form of hard-bitten – and a bit cliché – Detective Richie (Marvel Comics artist/writer Val Mayerik, who co-created Howard the Duck and Man-Thing). He suspects Jacob of some shenanigans about Silvia – as does Sam – and is peripherally doin’ some ‘vestigatin’. Joining in the search proper is Sam’s friend – and ex-girlfriend – Lucy (Paula Marcenaro Solinger) and her present boyfriend, Noah (Jordan Michael Brinkman), all of whom, of course, distrust Jacob. Though I will not reveal the answer, early on I wonder if Jacob becomes the villain or saves the day.

The four head out into the tunnels after the early expository first act that introduces everyone and their personalities (e.g., who is on who’s side). Silvia talked about other dimensions before her disappearance, and once they are in the tunnels, things…change. It reminds me of Grave Encounters (2011), where corridors and rooms transform as you pass through them. Here, tunnels become houses and back into tunnels, day is suddenly night, and people start seeing things. One confusing thing to me is how Jacob knew where the bathroom was in this mysterious abode; either it’s a continuity error, or he knows more than he is letting on. Hopefully, it’s the latter.

That’s when the tentacles come in. The introduction is almost like Japanese tentacle Hentai, or something the W.A.V.E. Video company used to produce. The tentacles are slimy and have a hook at the tip; but more importantly, they are practical SFX rather than digital, so they look pretty cool. Soon, the group becomes tentacle fodder and the other-dimensional creature becomes stronger. For a long time, you see the tentacles, but not the creature itself (perhaps Cthulhu?). Which brings me to the point of the further influence of Lovecraft. These inspirations are both direct and indirect, but sometimes both, such as the mention of The Hound of Tindalos, which was created by Frank Belknap Long, and used in a story by Lovecraft (I’m not a Lovecraft scholar though I am a fan; I just used Wikipedia).

Matt Blackwell

When we see the full creature back in the tunnels at some point near the third act, it reminded me of the space alien from an episode of “The Outer Limits” called “Cold Hands, Warm Heart.” In other words, it was an enjoyable SFX design.

I have to say, the film is quite imaginative, in a kind of mind-fuck way, and I mean that as a compliment. There is no consistent narrative as the space and events change dramatically and often, and yet the story can be followed. That being said, it does not talk down to the viewer. There are parts you may be scratching your head over (as I did a couple of times), but stick with it, it’s worth the watch.

Helping with that is the interesting and creative cinematography by Anthony Gutierrez, considering the limited space and lighting in the tunnels. Usually when a picture is dark, I whine about it, but here it actually works to made the passageways even more ethereal and claustrophobic. They walk around with flashlights, so we see only what the director wants us to see. Most of the photography is single-camera (often focusing on a particular person, rather than a group) that is often hand-held, but not in a found footage kind of nausea-inducing shaking.

Is this creature from another dimension? From space? Only in the imagination of one of the characters? More to keep the viewer intrigued. While there are some plot cliches, one of which I saw coming early on, there are also quite a few surprises as well, which I genuinely enjoyed. The acting is occasionally stilted here and there, but mostly everyone does a decent job of it. The dialogue is occasionally complex, especially Blackwell’s, but he handles it respectably.

 

There are a lot of little details that are presented to us, such as a recurring Nefertiti statue (she was the wife of King Tut) that has its eye whited out as a reference to later events. Also, the cast is relatively small with six main characters, but they all mostly get used well.

This is the director’s first feature after a few shorts, and it is definitely a push of the envelope for a relative newbie. There are indications of growth on work to come, and I for one welcome it.

IMBD Listing HERE