You had me at creepy cult with weird masks. Rich Ragsdale’s The Long Night (out now in select theaters and on-demand) is a no-frills tale about a young couple facing off against a sinister sect of demon worshipers in an isolated setting. It’s got some familiar plot points, but there are a few slight curveballs and the photography is legitimately strong. So, if you’re like me and you were intrigued by the trailer, I think you’ll be satisfied.
Our lead is Grace (fan favorite Scout Taylor-Compton), a woman that has spent her adult life searching for her real parents. She’s seemingly found a lead finally and has conscripted her boyfriend Jack (Nolan Gerard Funk) to make the journey to meet with the private detective that she hired. The couple leaves the Big Apple behind and heads to the rural South. When they arrive at the investigator’s secluded country home, he’s nowhere to be found, though. Soon, they’ll realize that there’s more than a missing host that’s amiss as the truth about Grace’s past is revealed in a diabolical fashion.
Robert Sheppe and Mark Young’s script remixes some well-worn horror tropes into a plot that’s not unpleasing. The structure is fairly tight, and I liked the chapter breaks that provide a nice alternative to the typical three-act setup. There’s an interesting theme about urban vs rural, or more broadly the North vs the South, that I wish would’ve been explored more thoroughly, but it still adds some flavor. There’s also a tangent involving a visit to Jack’s parents that’s a little undercooked. Character work is nicely done, though, and I appreciated that Grace is not a clichéd female victim. Additionally, her relationship with Jack is believably imperfect, which makes for a more emotionally impactful experience.
Performances are more than solid. Taylor-Compton captures our attention and carries the film admirably. I really enjoyed Funk’s work, as he has to straddle being an arrogant city slicker with being a supportive boyfriend. It’s to his and Ragsdale’s credit that he pulls it off and remains sympathetic. The always awesome Jeff Fahey shows up in a small supporting role, delivering some cool down-home swagger. I won’t spoil Deborah Kara Unger’s role here, but she turns in solid work.
Pierluigi Malavasi’s cinematography is a huge strength for the piece. There are a handful of aerial shots that are absolutely gorgeous and that help to instill the necessary feeling of isolation. Think the opening to The Shining. I also enjoyed the long-take tracking shot as the couple explores the house and the gliding handheld shots. The eerie surrealist images are composed for maximum atmosphere and genuinely make for an engaging watch. The location is perfect visually speaking in that is beautifully forbidding, but it also ensures that we understand that no help will be available for our heroes.
The instrumental score by Sherri Chung works hand in hand with the visuals to conjure a foreboding atmosphere. It also bucks the recent trend of using synth scores to obtain a throwback aesthetic. Again, I think The Shining is invoked, but also maybe Pino Donaggio’s work for Brian De Palma. So, even though I think there are some reference points, the soundscape feels refreshing in a way.
Rich Ragsdale’s The Long Night is tense work, but still manages to blow by at 91 minutes. Experienced horror fans may find some story beats to be recognizable, but the totality of the film is still entertaining, nevertheless. Strong visuals and a distinctive score carry the day. Ragsdale has a lengthy IMDb but this looks to be his first major feature as a director. As an aside, I first discovered him as an artist influenced by EC Comics and the luminaries of the ‘60s and ‘70s alternative comics scene. If you enjoy his work here, please give that stuff a look, too. I’m hoping this will mean more work for the filmmaker, as this debut shows promise. As it stands, I recommend The Long Night to fans of Kill List, Hereditary, and The House of the Devil.
Michael Cavender