Twin Syndrome (VTS) is probably even more legit and documented in the real
world than multiple personality disorder, but it is just a well suited for
horror film exploitation. Typically, there are few long term effects when an
early gestating fetus dies in utero and is absorbed by its twin. However, little
orphan Helen’s vanished Hellspawn twin will start asserting itself when it is reawakened
by some especially unfortunate accident trauma. Violent anti-social behavior
inevitably follows in Cody Calahan’s Let
Her Out (trailer
screens during the inaugural Brooklyn Horror Film Festival.
mother was a prostitute, who became massively and uncannily pregnant after a violent
visit from a Mephistophelean client. Alarmed by her sudden supernatural
pregnancy, she takes a drastic step, ultimately killing herself and the twin
Helen never knew she had—except not quite. Years later, twentynothing bike
messenger Helen is compulsively drawn to the now abandoned motel where it all
began (or ended). It kind of creeps out her well-heeled bestie-roomie Molly,
but she hasn’t seen anything yet.
a hit-and-run accident revives the twins dormant tissue, Helen starts acting
erratic, losing time, and sometimes even exploding in fits of rage. She also
develops unhealthy anxieties over a sinister looking painting given to her by a
Let Her Out works best when it
focuses on the psychological aspects of VTS, far-fetched though they might be,
rather than the more outlandish body horror. For what’s its worth, the film
features some of the creepiest ultra-sounds ever. Frustratingly, Calahan and
screenwriter Adam Seybold let the promising Rosemary’s
Baby-ish subplot related to the portrait wither on the vine.
Alanna LeVierge is terrifically unhinged Helen. Adam Christie similarly goes for broke
as Ed, Molly’s sleazy as heck hipster boyfriend. Arguably, the film needed a
bit more of the grounded authority provided by Kate Fenton as good Dr. Headly
before lighting off into fever dream territory.
Produced by Canada’s Black Fawn Films, Let Her Out ranks somewhere between the
company’s freshly original Bed of the Dead
and the more conventional throwback, The Drownsman. Frankly, the attention to detail in LHO pays considerable dividends, in terms of mood and atmosphere. Although
it is definitely uneven, Calahan and Seybold bring enough new stuff to the
table to keep most genre fans intrigued. Worth a look, especially as part of
the newly launched Brooklyn Horror Film Festival, Let Her Out screens this Sunday (10/16), at Videology.
Labels: Brooklyn Horror '16, Canadian Cinema, Horror Movies