What would you do if you were able to almost instantly heal from any wound, up to and including death? An existential dark fantasy anthology with an excellent cast of seasoned performers, Immortal (out now on VOD) takes a fantastical conceit and explores it from different perspectives. Each segment is helmed by a different director (Tom Colley, Jon Dabach, Danny Isaacs, and Rob Margolies), but the tone remains consistent thanks to being the work of a single scripter (Dabach) and DP (Colley). At just over 90 minutes, the short stories have just enough time to intrigue before hustling along.
Up first is the chapter titled “Chelsea.” The titular teen, played by Lindsay Mushett, is a popular high school track star and top student, but she’s quietly dealing with the unwanted advances of her predatory coach. Her witty and personable English teacher, Mr. Shagis (the always excellent Dylan Baker), deduces what is happening and offers to help his star student. Next is “Gary & Vanessa.” Brett Edwards and Agnes Bruckner play expecting parents with a (frankly ludicrous) scheme to ensure their child will never want for anything. Mario Van Peebles shows up as a salt of the earth cable repairman who throws a wrench into their plans. “Ted & Mary” follows loving couple Tony Todd and Robin Bartlett at the end of their journey together. Mary has terminal cancer and Ted has agreed to assist her suicide. Alex (Vanessa Lengies) and a camera crew document the pair’s thought process for a video meant to extoll compassionate euthanasia. Finally, “Warren” centers on Samm Levine as a man who is a victim of a hit and run on his birthday. Enlisting the services of Joe (shady Jason Stuart), Warren sets out on a quest for what he describes as “balance.” Joanne Verbos and Ben Reed play a well to do couple.
Dabach makes sure to wrap his premise in a mundane shroud. These aren’t tales about budding superheroes, although the opening sequence flirts with traditional genre tropes. These are mostly everyday people exposed to an unexplained supernatural phenomenon. Dabach is concerned with character above all, delivering relatively complex psychologies for his capable cast to realize. Though his approach is undeniably grounded, twists abound, providing a light pulpiness. Ultimately, it is the humanity of it all, for good or ill, which is successfully focused upon. Colley’s digital camerawork compliments Dabach’s efforts with a certain flatness, though he spices proceedings up with a few stylish flourishes. I particularly liked his work in Mr Shagis’ classroom. Ultimately, the DP commits to being unobtrusive and matter of fact, giving stabilizing visual consistency across the four stories and their various sets and locations.
The effects work, though not flamboyant, is effective. I wouldn’t describe this as a particularly graphic film, but there are a few gruesome scenes. That they erupt out of these prosaic settings shot in a subdued manner gifts them some additional impact. Dabach and Isaacs’ editing is more than competent, maintaining the commitment to character and story. They know when to allow shots to linger to maximize some of the more shocking moments and throw in the occasional jump cut to jostle the visuals. The difference in each director’s style is subtle, but I think “Chelsea” looks and feels the most exciting, with “Ted & Mary” being the most emotionally resonant. Kieran Kiely’s score is low-key creepy in parts while accentuating the more wondrous moments. It’s not ostentatious, but it’s a beautifully understated suite of music.
Performances are mostly great, I’m happy to report. I mentioned my adoration for Baker above and I feel like he is unjustifiably unknown amongst the general public. As in his role in Todd Solondz’s disturbing Happiness, his wholesome and even erudite demeanor is only a mask. Todd also turns in exemplary work, with his grief and resignation radiating off the screen. I just wanted to give him a hug every time he approached a total breakdown. Amongst the smaller roles, I really liked Stuart’s amoral and staid turn. Really though, there’s not a weak link anywhere. All the players are naturalistic and believable, even when the writing falters a little.
This isn’t a completely flawless effort, however. As I already stated, some of the events in the “Gary & Vanessa” story stretch credulity. Once we’re aware of how the premise is going to work and that twists are in play, predictability sets in, too. As is always the case with anthologies, the stronger narratives point out the weaknesses of the lesser entries. That all being said, Dabach throws enough curveballs to keep us on our toes, the strength of the acting keeps us engaged, and the brevity of the pieces maintains momentum.
Honestly, I really enjoyed Immortal. It acted as a palate cleanser for all the big-budget blockbusters and hard genre flicks I’ve been watching recently. It’s a quiet film that feels like a labor of love as evidenced by the many hats all the filmmakers wore for the production (in addition to those aspects already mentioned, the four directors worked as producers in different capacities and Margolies was responsible for the impressive casting). Not everything works, but I think the overall effort covers up the missteps. Recommended for fans of The Quiet Earth, Four Rooms, and The Signal (2007).
Michael Cavender