When seeking out
rare gems – in my case independent horror films with a
slice of sophistication – one never knows what a mixed bag they will find. With
sometimes little to no information permeating the ether (and online rating
systems seldom giving up their secrets), the hit or miss ratio can be much-maligned
or something to be celebrated. In my personal opinion, a films overall anonymity is
something to be lauded; its mere ambiguity can guarantee it a proper audience
away from the rhetoric of others. The
Pact (2012) is one such outing ... a small sleeper of quiet horror that far
exceeded any expectations I may have garnered from it.
Two sisters lie
at the heart of this tale after their abusive mother has passed away. Back in
her childhood home and putting final touches on the funeral, Nicole calls Annie
in an attempt to have her sister present for the occasion. With memories of
mistreatment still sharp, Nicole initially refuses ... but makes the jaunt down
anyway after Nicole seemingly vanishes from the face of the earth. Once
returned, it isn’t long before Annie begins to feel the first supernatural
overtones (smashed photographs and moved objects, among other things), leading
her to believe Nicole’s disappearance is somehow related to the house or a
presence within it. Soon after her cousin Liz succumbs to the same fate, and
the audience is then treated to sublime poltergeist activity with Annie at the
heart of the melee. Distraught, she flees to the local police – only to have
her story rebuked. Returning to the house with a local officer and seeking
revelation, Annie soon learns that her sister and cousin (although lost) could
be a lot closer than anybody realizes...
Earlier I
mentioned The Pact was ‘quiet’ horror
– and it’s a more than adequate word to describe this. Choosing slow
moving interior shots of a suburban house, director Nicholas McCarthy gives us an ominous impression of the mundane by transforming simple things
like a small closet space into a place of dread. The musical score is heated
and tense (silent when it needs to be), but ratcheted up with rusty violins and
subtle piano during moments of suspense. There are some introductions early on
- an example would be a jaded cop entering the picture – where as viewer's we
anticipate a slide into the formulaic ... but hidden around every corner is a
small surprise, almost like the chapters of a novella. A tight film experience notwithstanding, one cannot help but wonder how such a tale would
fare within the confines of a book. For all its dark ambition, the plot
structure still feels like something lifted from literature.
During the
course of Annie’s sleuthing (an investigation that includes consulting a blind
psychic), our young Gillian Anderson look-a-like comes to learn of a hidden
room in the heart of her childhood home. It is here the story reaches a hybrid
of real world horror sparring with the supernatural in perfect duality. There
is an amiable twist – one that I didn’t see coming – and a balanced quota of
restrained jump moments that are effective without going overboard. With her
cell phone pinpointing strange locations and photographs of dead women pointing
the way, Annie soon learns of a serial killer known simply as ‘Judas’. Like the
hidden room in her house, this enigmatic figure is much closer than she can
possibly realize ... a redemptive secret hidden in plain sight.
I know there are
many out there who would construe The
Pact as being somewhat unremarkable; however, with budget limitations and
no major theatrical release, this was never going to get the attention it
deserved. With tight performances, stylish direction, and imagery
that is short-lived but containing unadulterated horror, The Pact will eventually go down as a small classic in the genre's
independent pantheon.
