They live in the gray2022.
Directed by Abel Vang and Burlee Vang.
Starring Michelle Krusiec, Ken Kirby, Madelyn Grace, JR Cacia, Ellen Wroe and Cami Storm.
A clairvoyant social worker has visions of supernatural forces haunting a family when she investigates a child abuse case.
Capturing a certain mood on film must be a daunting task for filmmakers, even more so if you want to maintain that mood for an extended period of time. They live in the gray it’s a movie that captures the mood of pain and keeps it going at all times, and boy, does it keep it at all times. oh boy why They live in the gray it’s 114 minutes long and if it were, say, a funeral album by an obscure European metal band, then I’d be applauded, not encouraged, to maintain that sad sense of hopelessness throughout. But it’s not a doom metal album.
They live in the gray it’s a movie, designed to be seen by an audience that sits in front of it hoping to be entertained, or at least moved. If said audience has something to think about, get involved with, or perhaps end up in a deep discussion with someone about it, all the better, but entertainment is key, and They live in the gray it’s so simple, so wrapped up in its own sense of melancholy that it never becomes anything other than a somber melodrama, and the dramatic part of that word is often missing as well.
The story revolves around Claire (Michelle Krusiec), who we first see trying to hang herself in her home. It turns out that Claire and her husband Peter (Ken Kirby) had a young son who was killed in a hit-and-run accident, and Peter left because he couldn’t communicate with Claire in her grieving state. They are still in touch and Peter is trying to reconcile with Claire, but her intense grief and sense of loss is proving too much.
However, the suicide attempt fails and Claire returns to her job at Child Protective Service, where she is assigned to the Lang family case, where young daughter Sophie (Madelyn Grace) is suspected of being abused as she has bruises. in the body. . Once inside the Lang house, Claire begins having visions of a ghostly woman, followed by various other spectral entities. She decides to drop the case, but when the Lang family is threatened with taking care of Sophie as more bruises appear, Claire decides to help, and as her growing powers of clairvoyance begin to reveal what lies within the Lang household, Claire doesn’t. just start. piece together what happened to Sophie, but she also comes to terms with her own pain.
Looking at They live in the gray you have the feeling that The sixth Sense made a big impression in The Vang Brothers, as it’s very hard to get away from the “I see dead people” motif that both films employ, especially in this film, as that’s pretty much all Claire does. She wonders about the Lang house, or even stays in her own house, and has visions that may or may not be connected, most of the time not, as her son’s death has nothing to do with what’s happening. with the Lang family.
Despite the art style that some of these visions show, it’s very little considering that Claire isn’t a very likeable character, which is an odd choice considering what happened to her, and all this misery is spread needlessly in an attempt to creating something meaningful and moving, when in reality it’s boring and tedious because spending every scene with a terminally miserable character played by an actor with only one expression on his face at all times (well, he has two: frowning and yelling). ), and whose line delivery is mumbling while occasionally crying at the same time, is just as painful for the audience as it clearly is for everyone on screen. And there’s almost two hours of this.
There could be something in the middle of They live in the gray, because The Vardy Brothers can clearly shoot a movie and set a mood (although more than one would be nice), but it’s too derivative of other movies that have done similar things but with more influence. The point is that if this had been done before The sixth Sense it’s unlikely to have had the same impact as that film, as the writing is too disjointed and uninteresting to appeal to a mainstream audience. As it is, it was made more than twenty years later The sixth Sense and adds nothing to the “horror as metaphor” cinematic style it espouses.
Yes, They live in the gray it’s dark, both literally and stylistically, but two hours with the same dour expression and the same old ghostly apparitions (screaming women, old men, children with blood on their faces, etc.) appearing to say ‘Boo!’ it just doesn’t work anymore, especially when the horror is practically non-existent.
Flashing Myth Rating – Movie: ★ ★ / Movie: ★