‘Ingress’ Review
Stars: Rachel Noll James, Johnny Ferro, Christopher Clark, Tim DeKay, Barbara Deering | Written and Directed by Rachel Noll James
Ingress, as the film’s titles inform us, means the act of entering, or a way in. In the first feature film from writer/director/star Rachel Noll James (Follow the River, Half Light), the entrance being sought is one into alternate dimensions. The seeker is Riley (Rachel Noll James), who has been left devastated by the death of her husband Toby (Johnny Ferro; Hand of God, Crescendo). Complicating this is the fact she can still catch brief glimpses of him in dreams and visions that seem to indicate he’s alive in a different reality. Or may just be grief-induced hallucinations.
After hearing an interview with Daniel (Christopher Clark), a writer who believes he can channel entities from these alternate dimensions, she attends a presentation by him at the local library. During the presentation, he channels Lucas (Tim DeKay; The Crow: Salvation, Oppenheimer) who refers to Riley by name, seeming to confirm that her visions are real.
The problem is, Daniel has suffered disbelief, ridicule and even been diagnosed as a schizophrenic because of his ability, and as a result has periods of crippling self-doubt. But if he really can communicate with Lucas, and if Lucas can help Riley control her ability, then there’s a chance for her and Toby to be reunited. But if he can’t, is she prepared to have her hopes dashed? Or worse, what if what she so badly wants, isn’t what she actually needs?
Despite being labelled as science fiction, there isn’t a lot of actual science in Ingress. Its version of alternate realities and communicating with their inhabitants has more in common with the New Age section of your local bookstore than superhero-filled multiverses. Thinking of the film more as a fantasy along the lines of Somewhere in Time or What Dreams May Come should give you a better idea of what to expect from Ingress. And if you’ve seen Heath C. Michaels’ short The World Over, you’ll also recognize some of its themes here, although the two films go in very different directions with them.
And it’s much more about love, loneliness and sorrow than flashy effects and space battles. The film’s few effects are very low-tech, mostly consisting of a blurring effect when characters are caught between worlds or other dimensional travellers they encounter fading out like ghosts. It’s obviously CGI, but done well and not overused.
Unfortunately, with a two-hour running time, Ingress sometimes struggles to keep its story interesting. It usually manages to pull this off, but one of its subplots trips it up somewhat badly. I won’t spoil it, but when it turns up you’ll know it, and ultimately how the story plays out. Granted, it’s not too hard to see Ingress ending that way anyhow, but I’d rather not have had it been so obviously revealed.
Apart from that misstep, the script is solid and held my attention despite the lack of action and my not really being a fan of romantic fantasy films or New Age mysticism. It helps that the cast is not just on point, but excel in their roles. It’s hard to believe that this is actually Christopher Clark’s first film, he gives such a convincing performance in a complicated role. Apart from the main cast, Barbara Deering (The Legend of Grayson Crockett, American Vandal) stands out as Daniel’s mother.
Overall, Ingress is an above-average film with a lot to say about the human condition and how we relate to others and ourselves. Despite a couple of missteps, it’s an impressive achievement, especially for a first feature.
**** 4/5
Ingress has been playing scattered theatrical dates, ahead of an August 13th release on Digital and VOD Platforms by Glass House Distribution.
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