Barely old footage from 1963 shows us that ancient artefacts have been found in Mexico. Including a mummy skeleton and an impressive stone box.
Priceless items are being brought to America, perhaps from the hobby lobby, but we can’t be sure. Amazingly, he found himself in the basement of an old Gothic mansion in what is now Cleveland.
A woman lives there, and the place needs a master, a good electrician:
A little attention from an interior designer and, considering what happened to the woman, maybe an exorcist. The lights flicker and go out. Heraldic butterflies appear.
Something leaves a ghost mark on the hardwood and screams when it is pulled out! of shining eyes. We will never see him again. This movie only has one application: to find out that some tough ghost shit is going on in this house.
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Then we meet Ambar (Christina Rodlo). He jumped out of a shipping container that had just immigrated from Mexico. He got a job in a textile factory but needed an apartment.
A substantial part is an advertisement on a billboard read: BIG UGLY DUMP OF PERMITTED PROPERTY. NOTHING LAST COLORED HERE FROM RELATED FUNDS. A man named Red (Mark Menchaka) has joints. Why ONLY WOMEN, red? Are you crazy?
Maybe, but no one asked that question and Barn weren’t in a position of power here. He had little cash, no ID, and lots of options. He moves.
One corner of the bed was on top of a box, but not inside the box. No, this box is elsewhere in the house. This box can’t just sit anywhere. It’s the kind of box that should be inside an inverted pentagram with candles in the dots or something.
In any case, everything went perfectly for Barn.
His job is lazy, and he’s treated like crap, and his boss is unreasonable. But he’s got a girlfriend (Moronke Aquinola) and distant relatives in the suburbs and a roof over his head.
This roof is also above the head of the box that appeared in his dream. About his long-sick and recently deceased mother. Sometimes it seems Barn is before shining eyes, but NOT EXCLUDED! Again. He could hear cries from all over the house. Through the vents and even once from the bathroom drain. But he must have been just one of the other tenants.
Do your research, and how do people investigate things in this type of film? As I strolled through the house and slowly picked up the doorknob. He finds a room with a book called EARLY MESO-AMERICAN RITUALS and an old scroll.
That reproduces a voice recording that reads: “(several) ritual sacrifices (murmurs)”. He was in bed one night, and a moth landed on the bedside table. And was soiling it, getting it on his hands and everything. But a moment later, he came down and disappeared. If only ghost moths were your primary concern, Barn. If only.
Nothing comes out alive, emphasizing above all the fickle atmosphere:
At the expense of characters, themes, and plot, which are resolved in any meaningful or plausible way. Mengini spent an hour adjusting his bowling pins and then pitching the ball for them. Random, stacked ghosts, nightmares, EARLY MESO-AMERICAN RITUALS and the box – neat, spooky, now what?
How and why and where they are missing from us. The latest act has moments, rewards for the MPAA’s promise of “terrible pictures”. And revelations that try to surpass Toro, del Toro. Could you not do it? I’m sure no one can do that. Good experience; At least one should admire his efforts.
But that doesn’t make this film stray from a suggestion into mere coincidence. Too many movies explain things directly; it’s quite the opposite. Is it thematically trying to say something about the immigration experience? (Hey, you know – it’s tough.)
For the mental baggage, we carry with us everywhere we go – big things in little boxes? I guess there’s a metaphor for food animals lurking here in the shadows when you’re feeling kind. But it all boils down to one thing: you don’t want to know what’s in the box. It’s also a very fragile thing to hang feature films on.