(Later we discover it gives her additional, murkily defined paranormal abilities as well.) She claims it’s this distinction that resulted in her baby being ripped from her womb, and she’s frantic to be freed so she can locate the child, whom she’s convinced is still alive.Īs she tells the doc this backstory, we see her courtship with recently met nice guy David (Byrne), who takes her to meet his family only after her pregnancy is well-advanced. Sybil has been diagnosed as schizophrenic, but insists the voices she hears are real - a rare blood enzyme has somehow made her capable of reading others’ thoughts. Deluce (a rather thankless role for Kelsey Scott), she reluctantly relates how she got here, all the while certain she won’t be believed. Things have not gone well for Sybil (April Billingsley) who is under observation in a psychiatric ward after her adoptive parent died under suspicious circumstances not long ago. It should do well enough among genre fans - who nonetheless will be kept waiting a bit longer for Bush and Byrne to hit a home run.Īfter a brief prelude in which a Child Support Services worker (Jill Jane Clements) finds a toddler alive in the trailer home of its dead (presumably overdosed) mother, we’re introduced to that now-grown foundling years later.
screens March 6, simultaneous with its digital-format launch.
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Dark Sky is releasing the movie on five U.S. Nonetheless, this quasi-horror mixed bag will hold viewers’ attention for its originality even as it flags in both credibility and suspense.
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Once again co-written with cast member Conal Byrne, “ The Dark Red” is an overcomplicated stew of apparent madness, conspiracy, supernatural powers and revenge whose narrative elements never quite mesh or even come to full fruition individually. Like cloning fantasy “The Reconstruction of William Zero” and bank robbery-turned-monster movie “The Vault,” his latest film intrigues with an offbeat premise even if it ultimately doesn’t develop to fully satisfying results. One of three directors who first won attention with 2007’s excellent three-part thriller “The Signal” (not to be confused with another enterprising sci-fi-tinged indie of that title from 2014), Dan Bush has made several interesting genre features on his own since then.
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