Director/co-writer/editor Anthony DiBlasi, a protege of Clive Barker, has mashed collectively two traditional John Carpenter films, “Assault on Precinct 13” and “Prince of Darkness,” added a burbling, “Devil is coming, attempt to look busy” synth rating (by Samuel Laflamme, what a reputation) after which stirred in lots of up to date stylistic tics, together with flash-cut gore with dissonant sound results, and an prolonged motion sequence in a darkly lit collection of corridors that always adopts the rear-view, over-the-shoulder angle of a “shooter” online game.
The ultimate third is, when it comes to story, the least spectacular part—it turns into more and more narratively incoherent and chop-chop within the modifying—nevertheless it’s additionally probably the most virtuosic when it comes to compositions, digicam motion, and bodily performing. After a sure level, nothing in it scared me anymore as a result of I was too enraptured by how a lot the filmmakers and actors have been in a position to do with one location, lurid borderline-giallo cinematography (by Sean McDaniel, a reputation to observe), Laflamme’s music, and a sensible use of no matter results price range that they had (most of it appears to have gone into the demon, and if that’s the case, nice accounting determination: it is magnificent).
For those who care about indie horror trivia, this is a enjoyable bit: “Malum” is a remake of an earlier DiBlasi movie, 2014’s “Final Shift,” which has the identical fundamental plot—a rookie policewoman guards an deserted police station, a yr after an incident that entangled cops with demonic cultists. DiBlasi and co-producer/co-writer Scott Poiley determined to do it once more with more cash and make it totally different. The primary story change is having the heroine volunteer for responsibility on the station the place her father died so as to achieve entry to his locker, take a look at the power, and in any other case attempt to get solutions to questions which can be holding her up at evening; properly, that and doubtless 200 instances extra overt supernatural stuff. The primary model change is, er, the whole lot. It is a matter of vitality, density, pacing, and scale, and that is even mirrored within the music: the primary one was outlined by an acoustic guitar, whereas the second is wall-of-sound synth beats and chords that may liquefy your most up-to-date meal if the audio system have been loud sufficient.