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Jason Widgington [Celluloid 10.16.16] Canada horror thriller



In this day and age of cookie cutter remakes and PG-13 so-called horror films, it’s somewhat refreshing when an artful, original, and engaging film like Let Her Out comes along to restore hope that not all is lost. Even though it has some problems, namely some rather stiff dialogue and an underwhelming supporting cast, it’s still – along with The Sublet - the best and most fully realized film that Black Fawn Films (Bite, Bed Of The Dead) and director Cody Calahan (the Antisocial films) have produced.

Alanna LeVierge is Helen, a young bicycle courier in Toronto whose prostitute mother accidentally committed suicide when trying to abort Helen. After a near-fatal accident on her 23rd birthday, she starts experiencing odd visions, loses blocks of time, and hears strange voices.

Her roommate, Molly (Nina Kiri), convinces her to see a doctor, where it’s discovered that she has a mass in her brain that is actually the remnants of her twin that died in utero and was absorbed by Helen. With surgery scheduled to remove the tumor in three days, Helen’s episodes become more frequent and dangerous until it’s obvious that her unborn sister will stop at nothing to be set free, putting her and everyone she knows in great danger.

Having not quite developed his own unique style yet, Calahan capably pays homage to a number of influences with Let Her Out, notably David Cronenberg’s body horror themes and Nicolas Winding Refn’s neon-drenched shooting style in his most recent films. That’s not to say that the film is derivative, though. The vanishing twin coming home to roost after lying dormant for so long is an original concept and Calahan deftly and steadily ramps up the psychological tension through the first two thirds of the film before a final act that will satisfy horror fans looking for Black Fawn’s famed gore sequences.

Beautifully shot by Jeff Maher (Toronto hasn’t looked this dark, diabolical, and deserted since last year’s The Demolisher), with a driving electronic score by Steph Copeland, and buoyed by the strong performance of LeVierge in the lead, Let Her Out is an unabashedly Canadian indie horror film, and that’s a good thing.

Black Fawn Films, after a number of singles and a couple of extra base hits, has finally hit one out of the park.




Recommended Release: The Demolisher








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3N741L5 (1 year ago) Reply

It was watchable, but these Black Fawn Films pictures have moments of sit-down dialogue that's very reminiscent of a soap opera. Other than that they are funny, well shot, the story does interesting things, which leads to more awesome film making. Like the jump cuts in this picture when everything gets messed up a bit. But then you get another soap-moment. Props to the special effects though, those are all awesome! I'm also speaking in favor of Bed Of The Dead, its also has these same flaws, and same great innovation. Bed of the Dead still had more soap moments which I cant ignore.


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