I have watched this film on DVD three times in less than four days, and I am certain that I will watch it again at least once before the year is out. The reason for these repeated viewings is simple: Isolation is one of the finest films I have seen in months. It is beautiful, creepy, mysterious, grotesque, and fulfilling. The skill with which it was made is apparent in every aspect, from the editing and direction to the acting and the music. The cinematography is excellent, and there were so many scenes where I leaned forward just to get closer to a well-framed shot that, by the end of the film, I was practically head-butting the screen.
The story behind the film is straightforward: a group of relative strangers end up in a small, isolated setting that becomes host to a murderous presence. At first the strangers don't know what's going on, and search for answers even as they are being stalked. As they realize the extent of their danger, they learn to rely on one-another and the limited resources that are at hand. All of which I could have summed up by referencing John Carpenter's The Thing or Leviathan or Alien or any other
”creature-in-cramped-conditions” film. I will be just as blunt with my critique of this plot as I am liberal with my praise: this story has been done many times before, and Isolation doesn't add much that is new or novel.
What the filmmakers behind Isolation do accomplish is to create and subsequently sustain a creepy, compelling atmosphere. From the beginning, the small Irish farm where the film takes place is rendered with shots and lighting that convey its isolation from the rest of society. A car pulls up to the gate and a woman gets out and opens it and then gets back and her car and continues driving - and the entire time, the shot stays in the confines of her car. The woman, it turns out, is a vet, and when she examines a pregnant cow by searching its uterus, the framing and the sound editing convey how uncomfortable and messy this operation must be.
This is a gorgeous film. In one scene, the man who owns the farm opens his gate and steps towards a camper that is parked a short distance away from his property. The shot starts at hip-level with the man, and one of the first things I noticed was the texture of his raincoat and pants, and the mud and grime that lined his drive. Director Billy O'Brien and cinematographer Robbie Ryan set up every shot so that details like this take the center of the frame, giving the story and its characters a tangibility that only reinforces that urgency of their predicament. Complementing this are creature effects that are accomplished solely through animatronics and models. Everything, from the muddy ground to the viscous goop that covers the creatures, is real and textured. I have no idea what life on an Irish farm is like, but thanks to the superb eye that the filmmakers brought to Isolation, I feel like I've visited one during a horrific series of events.
The filmmakers also bring to Isolation an element that is perhaps one of the hardest to foster: tension. In the first scene we learn that something is amiss on this quiet, solitary farm, and with each revelation the tension just grows. Sometimes this element is reinforced by on-screen action that serves as a visual metaphor for tension: witness the calving scene, where the farmer uses a pulley-system to remove a calf that's stuck in the womb. The shot follows taut ropes, the sound editing emphasizes ratcheting of the crank, and the participating actors strain and curse while trying to hide their growing unease. It is a scene that will never leave me.
Other instances of dramatic tension benefit from a setup that draws a character into an awkward, if not out-right dangerous, situation. I am tempted to describe some of these, but I don't want to give them away - especially since the story is so well-written as to make these scenes feel like a natural part of the narrative, rather than a cooked-up scare device. Indeed, the premise behind Isolation, while drawing from familiar tropes that have been successfully filmed before, touches upon a contemporary scientific issue that deserves a fair share of mystery and fear by virtue of its ramifications. The more I think about the story that O'Brien has brought to the screen, the more I am amazed by the results.
I cannot recommend this film enough - and I say that because I want as many people as possible to see this for themselves and spread the word. Isolation is an excellent addition to the repertoire of cinema, and as a thriller I would rank it alongside Neil Marshall's The Descent without hesitation. It truly is that good. Even now, writing about it is bringing me back to the scenes that slipped past my experienced senses and drew me in. I can hear its relentless music, and I want to see it again. Cinema of this caliber is a rarity, and I urge anyone who appreciates the medium to seek this film out and watch it in a dark room with some friends. Then tell others, so that everyone associated with this film gets the credit they deserve - and the chance to do it all again.
10/14/07
