Plot holes, plot holes, and more plot holes! It’s just another title from the ever growing library of horror groaners from Chiller Films. Colin Theys’ “Deep in the Darkness” is an amalgam of “The Wicker Man,” “The Descent,” and a bit of “Rosemary’s Baby” for good measure. “Deep in the Darkness” is yet another horror movie that promises it’s building up to something, and then sputters out like a deflated balloon, forcing the audience to realize they’ve spent ninety minutes watching nothing. Nothing at all. What in the name of all that is sane did that final scene even mean?
Michael Cayles is a doctor who moves in to a small town with his wife and daughter. While moving in, they begin experiencing odd occurrences including a missing dog, and an odd run in with the neighbor’s deformed wife. Obviously this town is weird, because no one speaks out against the status quo, and there’s no cable! But there’s the internet, although there’s no indication anyone uses it. So no one knows about this town, but everyone has the internet. No one ever posted an alert or SOS online? It’s tough to root for Michael because he’s so utterly clueless to common sense, it becomes frustrating. He’s planning to have a new baby with his wife, two days later she announces her pregnancy, and then a week goes by and she’s almost on the verge of giving birth. And Michael never notices how utterly strange and inexplicable this is?
If that’s not bad enough, Theys’ film is so badly edited, that it’s tough to make sense of anything going on in this convoluted mess of a narrative. I couldn’t understand what the hell was happening in “Deep in the Darkness,” and the wonky, often ridiculous editing makes it impossible to follow along. One minute character Michael is investigating a noise in his garage, he opens it to find something small charge at him and he responds by whacking it over the head with a wrench. He leaves to get a bag and returns to find the body is gone leaving behind a smear of blood, and then the editor cuts to him abruptly waking from a nap. So was he dreaming of the garage scene? No, it’s just crappy editing. And I didn’t even find out what the animal was until later in the story. “Deep in the Darkness” has no idea what the hell it’s trying to be, and is incredibly bereft of scares or any kind of tension, whatsoever.
The town is supposed to be secluded and alienated from humanity, but they boast about having the latest videos in the local library. So that means someone is either delivering these tapes or ordering them. And who delivered the box of germ vials to Michael’s house? Why has no one sought out to defeat this large colony of feral people before? Why did Lauren think sleeping with Michael would keep her safe from the monsters? Was Zellis trying to appease the monsters, did she worship them, or was she trying to keep their bloodline going? Why did the creatures want Michael specifically? Why didn’t they hire Zellis for their big task? Why enforce a curfew in the town if it’s made clear that the monsters get in to everyone’s house whether you want them to or not? Why do the creatures have such a stranglehold on the town? And why hasn’t disease ever affected them? Why didn’t Zellis ever try to introduce them to society? “Deep in the Darkness” is a big mess and a colossal bore.