The Ascent

Tom Murtagh's directorial debut is an excellent and intriguing supernatural-noir film, that keeps you guessing all the way to the end. The story is expertly crafted, and the performances by Miguel Perez and Stephen Buchanan are captivating. If you love Following (1998) and Primer (2004), you'll love The Ascent.

I don't know if the rumors that this movie had a $20,000 budget are correct or not, but I did just today see an indiegogo campaign page that had raised something like $2,500, suggesting that in fact it was made on a shoestring budget. I know that the digital video revolution and streaming home entertainment have changed everything in terms of accessibility for indie film makers, but this movie really drove that point home for me in a way that no other ever has. I have watched many, many movies that literally cost a thousand times as much and enjoyed them a thousand times less. I wish Roger Ebert had lived to see it.

Also, I wanted to politely take issue with mitchellchristopherlong's quibble about the music playing while the detectives investigate the "Olivia" crime scene. I would argue that the music here serves an important dramatic function, specifically to make us see this scene (which we have seen so many times before in so many different crime shows and movies, inevitably via detectives who are jaded and cynical) with fresh eyes, as the authentic human tragedy that it really is. What the score here says is, "This is a different kind of movie. These are real cops who really see the victim. It's an awful thing to see and it hurts them every time, and they care." In fact, the dialogue literally tells us as much before they go in. "It's not like in the movies," Cardenas says to the reporter. So they're making an effort here to establish a more realistic emotional tone, which is one of the reasons why the left turn into supernatural horror that comes later is so effective.

This film is a great example of storytelling and filmmaking that doesn't require big $$ to compel the watcher and create a suspension of disbelief. I was engrossed start to finish. Kudos to the creators, cast and crew.

2017 indie film "The Ascent" provides a breath of fresh air in film-making. With a humbling budget of less than $20,000, "The Ascent" delivers a gripping narrative. Phenomenal acting, excellent dialogue, and exquisite writing drive this engaging supernatural thriller.

Seasoned LAPD detective Henry Cardenas (Miguel Perez) is on the verge of breaking a Los Angeles police department record. However, the most challenging case of his career, murder suspect Vince Marins (Stephen Buchanan), is taken into custody with Cardenas as lead detective. But as Cardenas probes the case, more than the present murder comes under investigation.

Marins makes a bold claim that he's something otherworldly, an assertion which Cardenas initially doubts. Meanwhile, budding journalist Regina Parker (Amber Waller) observes Cardenas. Initially, the veteran detective was reluctant to allow Parker to oversee his case, but he eventually conceded.

The film begins with narration from a then-unknown character. It's haunting dialogue: "They say she's buried under a tree," it explains of singer and pop icon Laura Maldonado (Anisha Adusumilli) who was murdered under mysterious circumstances, and her body never recovered. Then, action jumps to present day with Cardenas solving his latest murder case, just before interrogating Marins.

As "The Ascent" progresses, flashbacks periodically relay the tale of Maldonado's rise to stardom and eventual death. Over the course of the film, "The Ascent" focuses increasingly on Cardenas and Marins. Notably, Buchanan as Marins steals almost every scene he's in, infusing it with his quick wit and a frenetic energy.

A bracing thriller, "The Ascent" is not without its humor. Vince runs a website Hollywood Skateboard Tours (and yes, it's a live site). If that domain isn't already taken, it's likely snagged soon. During the investigation, Vince comments on the interrogation room: "No two-way glass?" he wonders. "If this were the movies, there'd be two-way glass." This self-referential moment adds a comedic element which is delightfully meta. Furthermore, Regina remarks that Det. Cardenas' partner, Frank Oslo (Sam Rodd) is the stereotype sleazy cop. When Cardenas queries what his stereotype is, she replies the zen master detective.

Writer-director Tom Murtagh crafts a clever narrative which doesn't show its hand until the final moments. An air of mystery persists throughout much of the film, and it's incredibly dialogue driven. The banter between Cardenas and Marins sustains the movie, acting as a primary driving force. With its simple yet effective sets, "The Ascent" is proof that budget doesn't make a film. With its incredibly modest $15,000 budget, "The Ascent" punches far above its weight class, outshining even major box office releases. It accomplished this feat with mastery of filmmaking techniques, from tour de force performances from Perez and Buchanan to taut dialogue, and an engaging plot that unravels in a sizzling slow-burn.

While "The Ascent" manages to grab the viewer's attention, holding it firmly until the final credits roll, a few moments feel unnecessary. Notably, there are two songs which play in full and though the tracks themselves are fine, it's odd to feature the entire runtime. The first appears while Cardenas and Oslo investigate a murder, and it's mildly distracting attempting to watch them work with the music over top. Sure, it's for dramatic effect and at that, it succeeds. But perhaps only a small snippet needs to play. Similarly, in the riveting conclusion, another song surges forth and plays in its entirety when a snippet could have easily sufficed.

Ultimately, "The Ascent" offers a refreshing dose of indie goodness. With its superb acting, plot, and script, it's a lesson in filmmaking which big-budget box office releases could use.

Miguel Perez does well in this low budget tense drama. What spoilt it for me was the dialogue/script for the supporting cast and the director's obsession with close framed tight shots of faces.