‘Ash and Bone’ Review
Stars: Harley Wallen, Angelina Danielle Cama, Kaiti Wallen, Jimmy Doom, Erika Hoveland, Jamie Bernadette | Written by Bret Miller | Directed by Harley Wallen
Director Harley Wallen opens his film in compelling fashion, intercutting the credits with night-time scenes of a woman running through the grass. She’s out of breath and distressed, courtesy of trying to escape something. As she sees an oncoming car’s headlights, her joy at potential help turns to terror as the people inside execute her. It’s a well-crafted opener, although the following film cannot match its intrigue.
Taking a trip to visit his old family home, Lucas (Wallen) hopes leaving the city will be beneficial for his rebellious daughter, Cassie (Angelina Danielle Cama), and help her bond with his new wife, Sarah (Kaiti Wallen). The trip does little to temper Cassie’s wild streak, as her boredom leads to her breaking into a house related to a local legend. While in the house, Cassie sees evidence of monstrous crimes committed and finds herself hunted by the villainous McKinley siblings, Clete (Jimmy Doom) and May (Erika Hoveland).
While the premise promises a backwoods take on Don’t Breathe, the reality cannot match the expectations as what should be tense and horrific unfortunately feels too pedestrian to work. This is also clear when somebody raises the question if somebody’s helping the McKinleys evade justice, leading to a countdown to when the obvious answer stops pretending it’s a well-kept secret.
Bret Miller’s screenplay focuses on character drama, primarily following Cassie as she acts out while grappling with grief. The character plays up the “goth problem child” caricature with actions that feel excessively hostile in ways which feel difficult to root for. Her constantly worrying father is left struggling to understand her in-between chopping wood, while Sarah appears to fall by the wayside.
Their troubles are worsened upon crossing paths with the McKinleys, hinting at a familial past that may be explored in the announced sequel. There’s a clear disconnect from reality in May’s eyes, a trait that’s well conveyed in Hoveland’s performance. It’s a notable contrast to Clete, as Doom dons an over-the-top voice which resembles a cartoon prospector that gargled nicotine.
When a tale of warring families includes cannibalistic serial killers, it’s disappointing that the result feels so dull. Between some questionable performances and unengaging characters, this becomes a film that may test one’s patience.
