Beginning where most, if not all, exorcism-related horror movies end, "Ava's Possessions" travels the path less taken, chronicling its titular character's recovery from a brutal bout with a demon name Naphula. It's an interesting angle to take and director Jordan Galland makes considerable hay with the concept, even if some elements fall flat. But in a genre where possession is old-hat, it's rare to see a fresh and unique take on the material. If nothing else, this film is quite unlike anything you've ever seen before.
With a style that owes considerably to Nicholas Winding Refn's retro-noir "Drive," "Ava's Possessions" works with a brilliant color palette, numerous cockeyed and crazy angles and a moody, atmospheric score by Sean Lennon. Galland is a relatively inexperienced director (his time spent in the entertainment business has been mostly musically related) but he shows a steady hand here, establishing a style that is familiar yet titillating. Even when certain threads of the film's plot don't quite hold together, the film is an audio/visual feast. Whether it's the gory make-up and effects or simply the pouring of an orange soda, "Ava" is quite a sight to behold. As far as little-seen horror films you stumble upon in Netflix's library in the middle of the night, you'd be hard-pressed to find something this colorful and unique.
Where the film stumbles is in its overly complicated story. Clocking in at under 90 minutes, there's no reason for this film to be as cluttered with needless plot debris. While watching Louisa Krause find her way post-exorcism is compelling, we are constantly tripping over side characters who insist on telling us their story, too. Problem is, this is Ava's story and that story should be compelling enough on its own merits. After all, the film is essentially a metaphor for recovering from drug addiction, and that ambitious angle is never quite fully capitalized upon in favor of characters who, quite frankly, aren't really all that interesting. Sure, we are treated to veterans like Carol Kane and William Sadler, both of whom are solid in their roles, but comedic actors like Dan Fogler and Deborah Rush ("Strangers With Candy," represent!) are given so little to do with their talents, its a wonder they were even cast in the first place.
Flaws aside, "Ava's Possessions" is still a nicely made, fresh and enjoyable take on a tired genre. It tries to break new ground and mostly succeeds. Genre fans will appreciate a new spin on familiar material, while bleary eyed late-night viewers will find themselves possessed by its aesthetics. Amidst all of your Netflix binging, this one should definitely not be purged.
With a style that owes considerably to Nicholas Winding Refn's retro-noir "Drive," "Ava's Possessions" works with a brilliant color palette, numerous cockeyed and crazy angles and a moody, atmospheric score by Sean Lennon. Galland is a relatively inexperienced director (his time spent in the entertainment business has been mostly musically related) but he shows a steady hand here, establishing a style that is familiar yet titillating. Even when certain threads of the film's plot don't quite hold together, the film is an audio/visual feast. Whether it's the gory make-up and effects or simply the pouring of an orange soda, "Ava" is quite a sight to behold. As far as little-seen horror films you stumble upon in Netflix's library in the middle of the night, you'd be hard-pressed to find something this colorful and unique.
Where the film stumbles is in its overly complicated story. Clocking in at under 90 minutes, there's no reason for this film to be as cluttered with needless plot debris. While watching Louisa Krause find her way post-exorcism is compelling, we are constantly tripping over side characters who insist on telling us their story, too. Problem is, this is Ava's story and that story should be compelling enough on its own merits. After all, the film is essentially a metaphor for recovering from drug addiction, and that ambitious angle is never quite fully capitalized upon in favor of characters who, quite frankly, aren't really all that interesting. Sure, we are treated to veterans like Carol Kane and William Sadler, both of whom are solid in their roles, but comedic actors like Dan Fogler and Deborah Rush ("Strangers With Candy," represent!) are given so little to do with their talents, its a wonder they were even cast in the first place.
Flaws aside, "Ava's Possessions" is still a nicely made, fresh and enjoyable take on a tired genre. It tries to break new ground and mostly succeeds. Genre fans will appreciate a new spin on familiar material, while bleary eyed late-night viewers will find themselves possessed by its aesthetics. Amidst all of your Netflix binging, this one should definitely not be purged.