In THE EARTH.
Ben Wheatley’s pandemic-themed forest freak out is not for everyone, but for those that appreciate his past works such as A Field In England, there are things to celebrate.
Review by Darragh Leen
An insidious, sensory overload that becomes gradually more akin to a bad trip with each passing moment, In the Earth is a testament to Ben Wheatley’s capabilities as a true modern horror aficionado. Wheatley has proven his adroitness in the psychological horror before but this is one of his lesser (smaller scale not weaker) attempts. That said, you’ll find it hard to seek out a more original genre film all year.
Once Martin and Alma enter the forest, they are like trapped flies on a spider web, wrestling to escape. With Some deeply (deeply!) unsettling moments and a couple of more than convincing performances (some less so), this new submission to the Brit-horror canon has passed the test on multiple counts - Despite some rather jarring and, at times, confusing editing choices.
The synth-like score by Clint Mansell, the best of the year so far, is totally anachronistic and somehow works in perfect harmony with the story. Meanwhile, a cacophony greets those who wander into the jungle’s depths with our protagonists; an attack on the senses one might say. And that’s not necessarily a bad thing in these circumstances. There are times when In the Earth feels like a grade-A student film, and other times when it seems as if segments have been plucked carefully from the Ken Russell playbook.
I’ve held the opinion for some time now that there isn’t a filmmaker out there today that can showcase true horror imagery quite like Wheatley. One would do well to revisit his 2011 film Kill List, a film (and ending) that will stick with me until the day I die. Some singular frames on show in his movies may be some of the most disturbing and terrifying I have ever seen, and it is no different in Wheatley’s most recent endeavour.
Wheatley creates an ominous aura that doesn’t let up for a singular second of the 107-minute run-time. There’s streaks of Joseph Conrad’s Heart of Darkness and James Dickey’s Deliverance (plus John Boorman’s 1972 adaptation) running through the roots of this film and, knowing Wheatley’s literary qualities as a filmmaker, this is deliberate and not subconscious. Wheatley’s decision to cast relative newcomers was a smart one. More notable stars at the forefront of this film would have only tarnished the already ‘out-there’ concept, one which shouldn’t have any attention drawn away from it by a familiar face.
The film does lose its way towards the end, becoming almost incomprehensibly chaotic. While it doesn’t draw from the overall experience of the film much it certainly had me thinking had Wheatley given himself more time it might have been a little more complete (the film was written, cast, shot and released within a very short space of time). Even with its noticeable flaws and strengths, if anything, In the Earth is a refreshing follow-up to the ultimately bland remake that was Rebecca last year.
It’s no secret at this point in his career that Ben Wheatley is particularly fond of 70’s British horror and has incorporated many of its tropes and themes into his own work. However, while this still stands in In the Earth, Wheatley grounds his story firmly in the present day by attaching a pandemic plotline. He doesn’t aim to be prophetic with this, perhaps only reminding his audience that we too are living in our own sort of horror tale. Never been one for the optimistic our Mr. Wheatley, and long may it last, as his films are all the more interesting for it.
7.7/10