Itâs obvious that âThe Chyrsalis,â written and directed by Matt Kravitsky, tried in vain to capture the spirit of horror films such as â40 Days of Night,â and âHigh Tension.â The acting is there, but the production value is not, and the result is a short film that feels too short at 27 minutes, and only scratches the surface of the relationship between its three protagonists. It ends bizarrely, pointing at things we, the audience, should glean about one of its leads; but the lessons learned are vague, as is the pictureâs overall message.
The basic plot here is that two sisters, Liza and Megan (Maggie Wetzel and Nicole Paige Chaffin) become stranded in the Canadian wilderness when their car breaks down on their way to transport Meghan to college. They seek refuge in a huge container plant from on oncoming storm, where they meet the wayward John (Brian Dole), who claims to be riding out the storm also. However, something is amiss. John seems a little bit too prepared for a storm that hasnât even hit yet. And it isnât long before he takes a liking to Meghan, much to the chagrin of Liza (even though it was Liza who initially wanted Meghan to lose her virginity at all costs). Thus embarks a series of events that begin and end, but never really finish, and a film that confuses rather than entertains.
Iâm not sure what âThe Chyrsalisââ most salient point is. Donât trust strangers? People arenât who you think they are? Beware? Im not sure âThe Chrysalisâ knows either. It features good atmosphere, particularly inside the trio’s makeshift accommodations, filled with smart choices in lighting and sound, but doesnât really dig for deeper treasure. It has the makings of a college rave – complete with booze, dancing, and sex, while all the while angling to be the â10 Cloverfield Laneâ thriller it so clearly emulates. Yes, thereâs something about John that just isnât right, but oh, damn if Meghan wants to find out.
Liza suspects. We see scenes of her thinking something just isnât right about Meghanâs dream guy (the most sinister occurs after John goes outside for a smoke and comes back in with a full pack). Of course, when we, as the audience, finally find out what exactly John was going outside for (avoiding spoilers), itâs more a head scratching moment than a clever âwhodunit.â And Meghanâs sheer protection of John, when he becomes clearly someone not to protect, smacks more of the scriptâs need for the bizarre rather than actual Stockholm syndrome.
The acting is apt, but not spectacular, with Wetzel, Paige Chaffin, and Dole turning in mostly decent performances. The highlight of Kravitskyâs script, and their performances, is that you do never suspect that they are acting as the proceedings flow rather nicely. The sisters do have nice camaraderie throughout, and Dole appears elusive, that kind of attractive and charismatic killer (yes, he does have a dark side; no, specifics wonât be given away here) you might find on âDawsonât Creekâ or the âScreamâ-type movies that littered the late â90s.
The soundtrackâs a problem. Itâs too absent in important parts and too overly cacophonous in others, specifically during the filmâs pièce de résistance, a sex scene between he and Meghan that is scored with a loud, synthesizer driven piece by Steve Matthew Carter that just seems wholly wrong for the scene. Yes, weâre supposed to understand danger is afoot; but the bombastic score takes viewers out of the picture, forcing this danger down our throats instead of quietly insinuating.
At the end of the day, âThe Chrysalisâ tries, even if it’s tough to deliver. It features capable acting, decent cinematography, and a production value that makes it seem more professional than it ought. The players are all pleasing to watch, and the snow-covered setting, not used enough in horror in lieu of dark woods or haunted houses, is a welcome change. However, the film jumps around a little too much, makes its climax a little too confusing, and, for reasons I could not figure out, adds an air of mystery and touch of the bizarre to Meghan herself. The film, which has several positive elements going for it, would have served better making itself a straight up horror rather than delving for the depths of psychology that it does. Itâs only 27 minutes and watches well. But itâs biggest affront is that it could have been so much more.
-by Mark Ziobro
