“Ghost in the Cell” takes place in a high-security prison ruled by feuding gangs and a tyrannical warden, where the arrival of a new inmate kicks off a series of gruesome murders.
The early stages of “Ghost in the Cell” contain a lot of violence. However, they also include even more exposition. Taking place in a prison, writer-director Joko Anwar has a plethora of characters to introduce to viewers. But even after all the generic introductions, it somehow feels like you still don’t know any of them. This leaves the pacing inconsistent over the first half of the 106-minute runtime, constantly transitioning from brutal bloodshed to rapid-fire exposition.
Anwar and director of photography Ical Tanjung bring “fourth-wall-break” energy to the camerawork, almost turning it into a character of its own. With pause-and-reset dolly shots alongside bizarre handheld camera movements in the middle of scenes, there is a comedic essence to the cinematography that counterbalances the bleak narrative events. A mixture of practical and digital effects is on full display. “Ghost in the Cell” features gore to the extremes seen in “Terrifier” and “Saw,” often coming in arranged displays similar to “Midsommar.” Mostly happening one-by-one, each new killing raises the stakes.
While the interiors of a prison are inherently subdued, production designer Dennis Sutanto brings added depth to the corridors. From the dirtied walls to the stained floors to the tiny cells, the space feels lived in. Costume designer Monika Paska adds a touch of flair with yellow jumpsuits that contrast the plainness. Aghi Narottama’s score is full of bass-heavy compositions that take over entire scenes. As low-pitched frequencies overlay high-intensity visuals, many moments within “Ghost in the Cell” become almost headache-inducing. Add in Tony Merle’s original songs, and there’s a strange mixture of booming and “poppy” sounds that the film possesses.
All of this culminates in a movie that doesn’t maintain a single tone. “Ghost in the Cell” is mostly horror, but takes pauses for comedy and action as well. This includes choreographed dance numbers — yes, you read that right — and hand-to-hand combat sequences. They may earn a chuckle in the moment, but these often detract from the flow rather than adding anything of substance to it. Of course, you also can’t forget about the social commentary. Anwar explores how inequality, classism and other injustices occur everywhere, even in prisons. The film specifically focuses on this in an Indonesian setting, but it’s easily translatable elsewhere. At the end of it all, the film acts as a sort of “feel good” story that’s also not feel good at all. It shows how people from all walks of life (or rival prison gangs) can work together in moments of oppression.
The mixture of different ideas is one of the film’s most memorable qualities. It’s also what holds it back from becoming an entirely cohesive experience.
Abimana Aryasatya (Anggoro) is at the center of a large cast. He has a rebel-like personality from the start, acting as a “leader” among some of the inmates. His actions often speak louder than words, but Aryasatya still has instances where he is required to deliver inspirational messaging through lengthy monologues. Other notable appearances come from Endy Arfian (Dimas), Bront Palarae (Jefri) and Aming Sugandhi (Tokek). Arfian maintains a constant sense of awkwardness and uncertainty. Palarae is physically imposing, with dramatic outbursts that make his character instantly unlikable. Sugandhi is unhinged, with a grumbling, raspy voice that is mixed with creepy chuckles to create an unsettling presence wherever he goes.
“Ghost in the Cell” has all the pieces of an effectively grotesque horror movie — plus comedic side quests, action set pieces and cultural criticism. The film remains entertaining despite not completely fitting together by the end.
Rating: 3 out of 5
