Resolution

Resolution is, for lack of a better term, a neolovecraftian film, relying more on personal conflict and atmosphere than on 'jump scares' or visual effects, developing an absorbing, character-driven plot along the way. Inside a dilapidated house we witness the tug-of-war between Michael (Peter Cilella), who wants to 'save' drug addicted Chris (Vinny Curran), and Chris, who doesn't want to be saved and thinks, not without reason, that Michael’s motives are selfish. This is all very good stuff, even if Curran is too plump to be an addict, and what he undergoes isn't so much withdrawal as irritation at Michael.

Outside the house, which Michael soon discovers is on a Native American reserve, there is quite a fauna of quirky characters who range from baffling but harmless to outwardly laughable but nonetheless dangerous. In the lovecraftian tradition, Michael is the level-headed hero, coming from an orderly and practical world, who inadvertently crosses an invisible border into a place where the abnormal and the subhuman are the norm rather than the exception.

Michael finds strange documents in the land surrounding the house; texts, photos, and videos that recount ominous past events and contain foreboding omens for the near future. Directors Aaron Moorhead and Justin Benson (who also wrote the screenplay) give the found footage technique one of the best uses I've ever seen, because here we actually see someone finding the footage and reacting to it, while we in turn react to his reaction. I find this a more effective approach than just showing us the supposed footage directly, which always seems incomplete by accident as opposed to by design.

The problem with this film – and it’s a doozy if, like me, you set a lot of store by a movie’s aftertaste – is that the makers are more popish than the Pope; or, in this case, more lovecraftian than Lovecraft. HPL’s brand of cosmic indifferentism works better on paper than it does on the screen, because mood, after all, can...

This is quite brilliant If I had seen this as a stand-alone movie I would probably have thought it was intriguing and engaging, but if you watch it as a prequel and setup to The Endless (2017) then it enhances the story of THIS movie to the point of quiet brilliance.

The characters are working well, the acting is solid, and the worldbuilding (if limited, whereas The Endless expands on it) is really spooky. It is highly recommended, and if you watch The Endless after seeing this movie, then you will enjoy that one more too.