H.P. Lovecraft is one of the most influential horror writers of all time, but his works have been considered too difficult to adapt, due to their heavy exposition. Many attempts have been made over the years to capture his unique brand of cosmic horror to film, but results have varied in quality. There have been some successful adaptations like Stuart Gordon’s 1985 horror classic “Re-Animator” alongside well-done genre films taking direct influence from Lovecraft like the 80’s horror tribute “The Void” from 2016, and the latest adaptation from director Richard Stanley (“The Island of Doctor Moreau”) proves to follow in this vein.
The film centers on the Gardner family, who have moved to a farm in Arkham County, Massachusetts and soon find their attempt at the quiet life thrown into chaos when a strange meteorite crash lands in their front yard. Its presence brings an alien force in the form of a strange and otherworld color that soon corrupts and mutates the land and wildlife around it, and eventually begins to do the same to the Gardners’ minds and bodies. Amid the havoc is hydrologist Ward Philips, who is in Arkham to help aid in the development of a new water reservoir, only to find himself bearing witness to the Gardner family’s destruction.
The cinematography and visual style, done by Steve Annis (“Kissing Candice”), are among the film’s greatest strengths. Annis uses unconventional, out-of-sync shots to create a sense of disorientation while portraying the titular “color” with shades of magenta appearing as swirling lights and pastel fog. Shot in Portugal, which passes surprisingly well for rural Massachusetts, the movie presents some imposing shots of the forest surrounding the Gardner farm and later after the color arrives, its alien influence results in an eerie yet beautiful landscape that creates a surreal contrast from the movie’s bleak tone. This effect is greatly enhanced by the eclectic synth soundtrack done by Colin Stetson (“Hereditary”), resulting in a surreal, disquieting atmosphere.
One of the most refreshing aspects of the movie is its lack of jump scares, apart from one scene. Instead, it relies on building up tension and anxiety that’s punctuated by a sense of existential dread created by its visuals, sound and music. Its horror manages to be more subtle than most, forcing viewers to use their imaginations rather than immediately shoving their faces into it. When reveals are finally made, they pay off through well-done special effects that create some of the most grotesque moments seen in recent horror films.
The cast does an excellent job for the most part. Nicolas Cage (“Primal”) gives an engaging, if occasionally uneven, performance as the family patriarch pushed to madness, while Madeleine Arthur (“The Family”) performs well as daughter Lavinia, displaying a genuine distress as she watches her family’s breakdown. Tommy Chong (“Zootopia”) provides a comic relief as a local stoner hermit, only to turn around and deliver a truly unsettling monologue near the climax, while Elliot Knight (“Call of Duty: Modern Warfare”) does well as Ward, who gives a haunting narration to the horror that comes.
The movie is not without some flaws. Some of its acts, mainly the first, feel too slow at times and it takes a while before viewers get to the more exciting and terrifying moments. There also could have been better characterization for the Gardner family, which could have helped in creating more of an emotional tie to what happens to them. They are fairly likable for the most part, with the parents and daughter being the most memorable, but the sons were a little underwhelming compared to them. The slow pace and the climax could be off-putting for some viewers as well, but this has more to do with the style and genre of the movie than its quality. Despite its issues, “Color Out of Space” is an excellently disturbing cosmic nightmare of a movie that successfully captures the unease of its source material.
Image from RLJE Films via YouTube
