Exploring the Depths of Mind-Bending Horror: A Review of ‘Evil Lurks’
In an age where it seems that every month brings thousands of films amassing among various genres, all delivering a variety of qualities, what does it take to stand out to even a handful of people?
An intelligent script that draws the viewer in, that helps. Brilliant acting from your leads, that is a must, if you want your writing to be brought to life. And I guess, since nothing can be truly original anymore, if you work from inspiration, make it your own vision. Plaster a unique style and there you go.
Evil Lurks has a generic crappy title, but it kind of helps because it doesn’t give anything away. You have absolutely no idea what is inside. Even the poster is ambiguous. Are you in for a monster movie? A ghost flick? Demonic possession? Whatever you think it is, there’s a curve ball waiting. Which is why I’m going to do my best to not give too much away, believe me, you’ll thank your nice Uncle Creepy one day.
Starting with a trippy techno mayhem introduction sequence, it’s like watching that random Nicholas Cage vehicle, Mandy (I know, just about everything that guy stars in is random). There’s a girl who appears to be sat in a chair. She is tormented by all the colours and shapes of things around her. Her eyes and motions move in time to the music.
“Take a deep breath…” says Harold, a hypnotherapist to his group who are nodding and going under — apart from one fella who walks off. Harold selects Kim, an obvious troubled soul, out for a drink and discussion of private sessions that could help. There’s a lot of randomly placed eye movements and facial distortion as they talk from him. As the bar lady brings their drinks, he says to Kim, “Want to see something cool?” He taps his fingers, and we are plunged into that red chaotic world witnessed at the start. As they continue to chat, the positioning and scene switches up constantly like a disjointed dream. Kim visibly feels confused and spaced out but agrees to a private session.
Afterwards he goes to the rest room and vomits blood whilst bathed in bring Argento-style green lighting. We hear something within the calm exterior, something inhuman.
Kim arrives to her session and opens the door. It abruptly slams shut by itself. She hears whispers, so she knocks. Harold says he was listening to a previous session. He is acting all off kilter. Bizarre behaviour. Man, Chris Shern (who has only acted twice in movies!) is an astounding low-key actor. He’s so believable. The session begins — holy shit, talk about building up to the mood and tension. The music helps a lot. Something is coming…
His hypnotism takes Kim further beyond into a red illuminated corridor filled with numbered doors. She walks nervously along, then she’s in a bathroom — earlier memories of pregnancy, a wedding, a happy relationship surface. It ends with despair and pain. Kim is inside the rooms of her mind, her deeply silent hidden consciousness. Doors are to be opened. She watches her heaven unravel like an onion, then crumble.
Snapping back to reality, Harold is positioned over her, eyes glowing red, then he attacks, raping her. She fights for her life against the creature, and she wins with a mightier pen. The janitor finds her beside the corpse. Soon after the police arrive.
Eight months later, she’s pregnant and in a sanatorium. She is in her own world. Her daughter, Erica, is given up for adoption. Fifteen years pass, Erica has grown up, but Harold haunts the dreams of both her and Kim.
Kim’s days are a shattered place of reality and nightmares. She’s still in the hospital where demons are starting to roam. Meanwhile, upon finding the files on Kim, Erica realises that she has seen her real mother in dreams. “There’s always someone behind her. Like a silhouette.” Erica begins to see shadows, and hears “Shhhh,” which is something Harold did. Also, there’s an upcoming blood moon. The last one was fifteen years ago. Ahhh, let’s see what’s in store for our cast of characters, eh?
Evil Lurks revolves around a core of moody visuals and emotions embodied in shovels. The last fifteen minutes or so must be seen to be believed. I have never watched anything quite like it. Everything is plotted and nurtured to grow into a deep well, deeper than you first realise. Ultimately trauma and sadness are the key. Amanda Winston, along with Chris (incidentally, he is more musical orientated and provided lots to the incredibly diverse soundtrack), and newcomer, Savannah Mae (as Erica) are all a force of nature, perfectly cast and work hard.
Evil Lurks has minimal gore — it’s all done with lights and shadows with flashes of effects. Usually, I would have stabbed at the conclusion, but for the first time the way it is done makes sense.
This is possibly destined to end up as a criminally unknown slept on low key gem. My Partner in Gore, Willow, said it deserves nothing short of a selective cinema release because it would be so much more powerful on the big screen.
“Well, I’m going to say, this is one of my favourite reviews so far.” Willow also commented, as things started to gradually build towards the climax. Evil Lurks seems to be a lashing of Mandy with the feeling of Insidious, but the dark science fiction holds it together in places as well as all out horror.
Evil Lurks shows how strong and mysterious the human mind can be, a place that should be walked with caution.
Directed by: Aaron Hawkins
Written by: Aaron Hawkins, Chris Shern
Produced by: Aaron Hawkins. Chris Shern, Jayson Johnson
Cinematography by: Aaron Hawkins, Jeremy Applebaum
Editing by: Aaron Hawkins, Chris Shern
Music by: Chris Shern, John Mackniskas
Special Effects by: Nick Grobe, Joshua Hubbard, Eric Schwab, Shae Taff, Andre Boyd
Cast: Amanda Winston, Chris Shern, Savannah Mae, Bobby Bozek, Larry Biela
Year: 2023
Country: USA
Language: English
Colour: Colour
Runtime: 1h 44 min
Studio: Crazy Rock Films, Kissing Kastle Productions, Comfortzone Audio