The Corridor (Evan Kelly, 2010)
The Corridor is one of the most divisive movies I’ve ever seen. There is a small number of people who love it, and those who do really love it. And then there are the masses, who find it hateful. It’s tempting to say that those who love it were the people who “got it” and those who didn’t etc., and I think there is some of that, but I don’t think that’s completely it—I think some people who got it didn’t realize they got it, and if they had, they would have said “wait, that’s it?” This is, obviously, to the movie’s detriment, but perhaps not as much as it should be—it’s attempting to bend minds, and some minds just aren’t built for being bent.
Plot: five high school friends—Tyler (Casino Jack‘s Stepen Chambers), Everett (Saw VI‘s James Gilbert), Chris (Ambulance Girl‘s David Patrick Flemming), Bobcat (Outlander‘s Matthew Amyotte), and Huggs (Hobo with a Shotgun‘s Glen Matthews)—get together for a memorial service for Tyler’s mother after he is released from a mental institution (we see why he was put there in the opening scene). Tyler believes that, thanks to a lot of therapy and even more medication, he is back in touch with reality, but while he is out in the woods at night, he finds himself experiencing something that seems, well, crazy—he believes he’s in an invisible box that allows him superhuman abilities. He doubts his sanity—until the others also start experiencing it in the same spot. The problem is, them experiencing it and Tyler being crazy may not be mutually exclusive…
I’ve been reading the IMDB boards for this one, and a lot of people are saying it makes no sense, while others are saying you need to pay attention to every second of the movie in order to get it. Really? I thought it was pretty straightforward, myself (though obviously explaining it here would get far, far into spoiler territory). I also thought it was just shy of brilliant, perfectly-shot to induce claustrophobia, quite well-acted, and original. I wasn’t entirely sure about the ending, but it does fit with the material; it just seems that with a couple of tweaks the ending could have packed a little more punch than it did. But still, what we got is very much worth watching, and if you don’t mind your sci-fi-mental-instability thrillers with a bit of the old overly-cerebral to them, you’re going to be one of that small minority who, like me, absolutely loves this little indie gem. *** ½
One trailer, side of fries.