Director Ben Wheatley brings his unique type of horror film to the screen with In The Earth. This is definitely not a film for everyone, especially now with the Pandemic still lingering.
It is amazing to think that this was filmed after the Pandemic. Add the virus storyline, and you have a topical and terrifying film. A virus has ravaged the world, and a group of scientists and doctors are working to fight the disease. Dr. Martin Lowery and park scout Alma, embark on a two-day journey to reach a test site that they have lost contact with. During their trip, they run into Zach who lives off the grid in the middle of the forest.
The idea of being lost in the woods is extremely terrifying. I always worry that I will think I have brought everything and then get out there without the most important item, yet you’ve gone too far to turn back. I know that the following is a method to move the story along, but it amazes me that people are so gullible to be taken in and drugged by someone that is a complete stranger. I would really like to have at least one of the members very skeptical about people they encounter in the fucking woods.
This movie is a solid film, but I would highly recommend you watch Sightseers and Kill List before watching this. If you do watch this film, it is important to note that there are a lot of strobes and flashing lights that could bring on a seizure for people who are prone to that.
As a deadly virus ravages the world, Dr. Martin Lowery embarks on a mission to reach test site ATU327A, a research hub deep in the Arboreal Forest. The arduous journey, guided by park scout Alma, is set back by a nighttime attack that leaves the two bruised and shoeless. When they run into Zach, a man living off the grid, they gratefully accept his help. Zach’s intentions aren’t exactly what they seem, however, and a path out of the forest and into safety quickly fades as the line between myth and science blurs.
Writer/director Ben Wheatley (Sightseers, 2013 Sundance Film Festival) delivers a visually rich and disorienting viewing experience that defies easy categorization. In a departure from his sleek genre thrillers (High-Rise, Free Fire), In the Earth uses an understated and unnerving synth score, mystical allusions, and nature itself to instill a feeling of unease and danger. As Martin and Alma desperately look for a way out, this stripped-down approach unfolds into a psychedelic kaleidoscope of changing colors, shapes, and sounds that turns the world inside out.