Astral travel is not a new story in the cinema or a material that is not the kind of horror. There are many cultured examples, and it can lead to ideas that will please the genre’s lovers, especially in the science fiction part of the horror genre. Astral also tries to support the sense of credibility and thus the sense of fear by basing itself on a scientific basis with the introductory sentence and succeeds in this with its introductory sequence. Astral, who opened the story with the experiences of a young woman named Claire, makes the transition after years and introduces us to Alex. Alex decides to contact Claire’s son and her mother, who she lost many years ago after learning about astral travel at school.
The story is so beautiful until now. What the director has to do next is to branch out the story with Michael Mul, who wrote the screenplay together, and lay out the story if possible. But the Astral’s problem begins right there, as the story is left from a scientifically based idea and left at a completely different point.
In the episodes where Alex attempts astral travel, the film takes on a Paranormal Activity and even Lights Out, and is treated as if there is something scary before a proper atmosphere of fear can be created. The so-called horror figure that emerges as a result of astral travel destroys the basis of the film completely and throws the science fiction foot in the trash, causing it to continue on its way with a horror theme that is already being committed.
Astral, who examined the astral journey at the beginning of the film at the scientific level and gave the impression that he would build his story on this thought, changed his direction in half of the way, and perhaps crowned a story that would be valued when he was given a fantastic dimension with a boring, unpleasant and rushed final, and most importantly, that moment. until all the characters that support the story is dysfunctional. The presence of Alex’s two friends, her teacher, and the female student whom we found to have a relationship with her teacher, and their services to the story are inconclusive; The script is unable to answer any questions about fancy sentences and character missions that it initially established.
Obviously, I could find it more exciting for a young man who had set out with the dream of contacting his mother and experienced astral travel on his own behalf, to be driven to a completely different path and set sail for a fantastic adventure with his friends. But in Astral, I think that this chance is not being exploited and that this opportunity is missed because of the desire to find a compelling answer to the mother’s condition. In fact, Astral is not a film that will be discussed at length and will allow in-depth investigations. There is neither a symbolic expression nor an aesthetic sense. Yes, he describes his pasture properly, but it’s obviously not enough to satisfy his audience.
Although I cannot say anything remarkable about the performances, I can say that Frank Dillane, who gave Alex life, is enough to save the film. In a process where we saw incredible, groundbreaking films / series about the transition to different dimensions and inter-dimensional adventures, it was difficult but impossible for Astral to create an atmosphere of fear with a simple idea. At least I say tried, I leave the decision to you.
Astral (2018)
Directed by: Chris Mul
Starring: Frank Dillane, Catherine Steadman, Damson Idris, Vanessa Grasse, Jennifer Brooke, Juliet Howland, Mark Aiken, Trevor White, Ned Porteous, Darwin Shaw
Screenplay by: Chris Mul, Michael Mul
Production Design by: Madeau Christou
Cinematography by: Charles Heales
Film Editing by: Giorgio Galli
Costume Design by: Sallyann Short
Music by: Ed Watkins
Distributed by: Vertical Entertainment
Release Date: November 23, 2018
Visits: 73
