At the beginning of the film “Consumed,” which is an otherwise dismal monster movie about a couple going camping and collapsing, there is an awesome nutty idea. Before long movement begins between the characters Jay(Mark Famiglietti) and Beth(Courtney Halverson) and their confrontation ends with that temple of human violence – a crazed outdoors man (Devon Sawa) and an inexplicable flesh-eating monster.
There’s quite a bit of situational drama baked in the tensions between Beth and Jay that extends the quick pacing of 97 minutes. Even though it is clear from the antagonist who is played by Sawa that they have been haunted by the stage, the character adds much welcomed extra tension to the narrative. Regardless, it’s just far more entertaining to watch Beth come to the realization that she and her partner, Jay, are no longer on the same page especially considering how irrationally domineering Jay has had a tendency to be.
Beth defeated breast cancer and Jay has not a glimmer of an idea how to relate with her on her experiences. It also includes horrible flashbacks to PTSD type situations where she is in a medical procedure or just after it and her body feels like a monster attacking her. It is clear that Jay is trying to make Beth feel appreciated and understood but still, he seems to be oblivious to how Beth feels. This excursion for him is a well-deserved award, but for her – possibly the last time they are together. And then they come to see animal footprints that are in something resembling creamed spinach. Providing more layers – a bear trap, a monster and a bunch of expository dialogue.
As in the most recent trauma-focused horror movies, this time “Consumed” is defensive of its most disturbed character. The crowding of Beth might not have been suffocating in case Jay was more fleshed out or made a more believable supporting character for Halverson. Initially, Jay appears to be an actual itch in her side, especially when he circles around and then clouds Beth with way too much attention. It is pretty straightforward to believe in this kind of person who is good-natured but obnoxious when he just tries to make an event out of burning Beth’s hospital bracelet. If you have ever been whisked off into parts such as surgery, spine recovery in the hands of several sweaty shouting nurses, without the comfort of uncomprehending friends and/or relatives, then you appreciate the impulse of wanting to scream. This initial segment of ‘Consumed’ most authentically captures that pain.
Next, Quinn who is Sawa’s cracked hunter takes over Jay’s position as the one that most terrifies Beth. For what we see as quite evident and unfurl without revealing themselves fully, he resists giving certain information to Beth and Jay. Around this trouble is that of Quinn. Sawa does get into his character, however, Quinn is always more of a nuisance in Beth’s career than a tool to help her out.
Yet, as soon as Quinn appears on screen, “Consumed” gets redacted a bit to conveniently fit in the conventions of a much more straightforward survival against a more paranormal and surreal (the “Twilight Zone” sort) menace that is mostly suggested and periodically manifested using some tastefully restrained low-budget critter effects. People who have watched Larry Fessenden’s horror cinema under glass eye pix would recall the hungry monster in the very centre of “Consumed.” It’s hard to say, as one would rather say, and with much pondering, but its role here will never be as well constructed as in Fessenden’s creatures tragicomedy able to be grasped motivation.
Rather, Jay who has taken a backseat in “Consumed” now tend to be more concerned of the relationship between Beth and Quinn. Such a deficiency in focus would have been acceptable within the context of a picture where Beth and Quinn, if not physically together, at least sight each other from time to time and spin a web of each other’s phobias. However, as per the dialogues in “Consumed”, the film written by David Calbert, there is little accent on either of the characters to help in the development of the plot.
Even though the circumstances are imaginary, it is always difficult to apprehend why performances do not synchronize while acting in front of the camera, particularly when their characters stand at the opposite ends. Left to deduce from what is displayed on the screen, bank “Consumed”, the guiding principle of the plot and perspective on of it poorfully wastes the best opportunity to develop the distinct issue of this movie where’s inside Beth’s struggle with her feelings. There is somewhat excessive talking which dilutes the thrill of the monster attacks which in all likelihood would captivate the majority of viewers in the beginning. In fact, a little of this folksy dialogue heads out of Sawa’s mouth like a wad of sandpaper when he ‘yelps’ at Beth in her post-cancer sickness, “You’re sick, ain’t you?” Such a shot deserves a little more set up to work as intended and ‘Consumed’ just doesn’t have the right sort of fat to make it stay.
Perhaps “Consumed” would have still turned out in the manner that is perturbed only by the evaluative movie-conventionalism’s ability to hold the viewers in suspense. That is why he is now saying horrible clichés out loud instead of changing collapsed dialogue reasons for Quinn and Beth’s behavior, completely neutralizing the tension that has build up to scenes before. There is also a certain weariness that comes along in believing that we are watching ill-built or poorly constructed performers attempting to lift heavy raggedy material. Of course, some of the thrills evoke the burst but it is nowhere close to what the movie promised at its opening.
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