“Undertone” follows a podcast host who is caring for her dying mother. After being sent recordings of a pregnant couple’s paranormal encounters, she discovers their story parallels her own.
Here we go again. It’s only March, and we already have the so-called “scariest movie of the year.”
Well … this time it’s actually true.
Writer-director Ian Tuason proves to be a master of tension in “Undertone.” The film knows the audience is familiar with common horror tropes. So it plays into them without ever fully succumbing.
It’s full of slow pans. Until abruptly inserting a terrifying still. It features audio typical of a standard podcast. Until morphing into something truly demonic. The movie continuously subverts expectations by setting its own standards – only to have them come crashing down.
Claustrophobic Visual Style
Visually speaking, “Undertone” feels heavily inspired by “Hereditary.” Cinematographer Graham Beasley manages to turn a mundane house into something claustrophobic and terrifying. He utilizes pans, tilts, zoom-ins and other techniques to keep the minimalistic narrative visually engaging. The film takes place in one location, yet it seems like it’s always evolving. That’s because it uses mirrors, shadows and light to its advantage time and time again.
Featuring a podcaster, though, the sound has to be top notch. And it most certainly is.
Sound designer David Gertsman had his work cut out for him in “Undertone.” The film relies on audio to sell the scares – oftentimes even cutting to black so the audience can only hear what is happening. It’s an incredibly effective approach, allowing viewers to visualize events without explicitly seeing them. Sound comes from every direction, with whispers, thuds, cries and screams all carrying weight.
But even more so, it’s the silence that works.
Slow Burn That Pays Off
The story of “Undertone” is simple. But it takes time to develop. This is the definition of a slow burn – until it’s not.
Even with a short 93-minute runtime, the film can feel like it’s dragging at times. This is because there isn’t all that much story to tell. It’s easy to say this specific tale probably could have been told in 60 minutes or less. The film finds excuses to stretch things out longer than necessary, but that’s easy to forgive. Because “Undertone” delivers in the final act.
The conclusion of “Undertone” is horrifying. It’s a film that provides answers, just not in the ways you would expect. As the credits begin to roll, the room will likely be silent. That’s because the movie is relentlessly bleak and never lets up. This makes the ending hit even harder.
A Performance That Anchors the Horror
Nina Kiri (Evy) is the star of the show. Despite Adam DiMarco’s (Justin) voice doing much of the heavy lifting, Kiri’s physical presence does wonders. Her blank stares and obvious paranoia add layers to a character trying to act “OK.” The camera stays focused on Kiri from beginning to end, meaning the weight of the movie truly falls on her shoulders. She heightens each moment with her delivery.
“Undertone” is actually scary. In both the audio and visuals alike, unease lurks around every corner.
Rating: 4.5 out of 5
