‘Dead Mail’ Review: Friends Don’t Let Friends Leave the Torture Basement in Eerie, Eccentric Indie Thriller

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During the height of the “torture porn” discussion several years back, numerous movies emerged featuring characters subjected to extended, cruel captivity – often young women. One particularly low point was the 2007 thriller “Captivity,” starring Elisha Cuthbert as a blonde fashion model held by a serial killer. This film, directed by Roland Joffe, who was nominated for an Oscar (“The Killing Fields”), is notorious for being one of the most exploitative and sleazy films ever produced. Although the controversy surrounding the “torture porn” subgenre popularized by “Saw” may have lessened, it has not completely vanished. Many kidnapping movies still carry a strong odor of exploitation and peeping tom behavior.

One notable aspect of ‘Dead Mail,’ streaming on Shudder starting Friday following its premiere at SXSW in 2024, is that it explores familiar horror storylines without becoming a gratuitous display of psychosexual voyeurism. In truth, the film by writers and directors Joe DeBoer and Kyle McConoghy doesn’t fit neatly into all the boxes that would label it strictly as a ‘horror’ movie, but it undeniably has a horror-like feel. This peculiar story, humorously presented as being based on real events, follows Sterling Macer Jr. and John Fleck as two middle-aged men whose shared interests evolve into a chilling captor/captive situation. Set in the 1980s Midwest with a blend of ordinary drabness and eccentricity, ‘Dead Mail’ is an engaging thriller with a unique twist of dark humor.

The initial, somewhat disturbing scene shows a chained African-American man escaping from a secluded house’s front door, leaving behind a bloody note in a mailbox on the sidewalk. He is then violently captured by his presumed captor. This opening scene might suggest a series of brutal, potentially racist incidents targeting one individual. However, as the story unfolds and the timeline shifts, it becomes apparent that this initial assumption isn’t entirely correct – though the revelations are far from reassuring.

Bypassing the complexities of its jumbled timeline, the plot eventually unveils the source of the story as a fortuitous encounter between two tech-savvy individuals passionate about synthesizer music innovation – think advanced (for the mid-1980s) adaptations of Wendy Carlos’ “Switched-On Bach.” At a computer expo, Trent (Fleck) shows enthusiasm for software that Josh (Macer) has created for keyboards, which mimic traditional musical instruments.

Trent can be quite demanding and intrusive, often meddling in others’ affairs. Yet, straightforward Josh doesn’t seem to mind this odd friendship, especially when Trent occasionally provides him with costly components for his projects. However, signs of instability in Trent escalate dramatically when he learns that Josh has received a job offer from a Japanese electronics company – an opportunity he considers as a grave act of treachery towards their shared endeavors. Before long, Josh finds himself trapped in Trent’s fortified basement, his cries for help falling on deaf ears, much like Samantha Eggar’s pleas did in the classic kidnapping thriller, “The Collector” (1965).

The situation seems grim for Josh. Yet remarkably, he manages to pull out a hastily-written note, setting off a series of events in motion. Without an address, the note lands in the hands of a USPS investigator named Jasper (played by Tomas Boykin), who initially considers it a prank but has his doubts. Due to a confidential information leak, Trent takes drastic measures to cover it up, leading to unfortunate incidents that later become a puzzling enigma among Jasper’s post office colleagues. Particularly unconvinced by the police explanation (which was actually fabricated by Trent), Ann (Micki Jackson) and her coworker Bess (Susan Priver) decide to investigate independently. Their efforts eventually lead them to Trent’s doorstep, creating a tense atmosphere filled with suspense. However, “Dead Mail” offers a conclusion that may not meet your expectations.

This production is filled with unexpected elements, not only through its unpredictable plot turns but also in the unique quirks of its characters and overall atmosphere. Compared to their debut film “BAB” in 2020, DeBoer and McConoghy showed potential, however, the blend of retro-western melodrama and mad-scientist thriller in “BAB” didn’t quite match the tight focus shown here. The Reagan-era backdrop of “Dead Mail” is portrayed in a way that feels as if it’s been warped through time, much like Eisenhower’s era was depicted in their previous work. In this film, the 80s are presented as an alternate reality, somewhere between a vintage Sears catalog and “Eraserhead.

Payton Jane’s set design, McConoghy’s camera work, KerriAnne Savastano’s wardrobe selections, and the decision to shoot in Greater Los Angeles instead of Peoria all contribute to a subtly disconcerting atmosphere, avoiding overt nostalgic stereotypes. The makers enhance a dominant, ironic tone by incorporating self-composed electronic music, contemporary compositions, and classical pieces played on synthesizers.

Payton Jane designs the sets, McConoghy does the camera work, KerriAnne Savastano chooses the costumes, and they film in Los Angeles instead of Peoria to create a slightly uncomfortable feeling without using typical nostalgic images. They also use electronic music, new compositions, and classical tunes played on synthesizers to add an ironic tone to the production.

The actors skillfully navigate between realistic and fantastical scenes, keeping straight faces throughout this mix. Only level-headed Ann appears normal among them, while others exhibit strange behaviors, ranging from slightly odd (like Josh) to completely living in their own worlds. It’s not uncommon for employed characters like Jasper to reside in a homeless shelter, or have ties with Scandinavian intelligence agencies (such as Nick Heyman’s character from “BAB”). The show seems to suggest that everyone is slightly crazy, making it easy for truly insane individuals like Trent to blend in unnoticed.

Initially gaining notice among the “NEA Four” performance artists who faced funding cuts due to political pressure from a censorship-leaning U.S. Senate 35 years ago, leading actor Fleck portrays a character strikingly similar to the outdated, regressive caricature of the obsessively possessive gay villain last seen on screen during the 1980s. However, this overly emotional closet case may be too repressed to acknowledge any sexual undertones in his role as a jailer. He’s unsettling because his relentless determination combines irrationality with ingenuity – he’s an extreme manifestation of the common social nuisance, the control freak. Despite how manic and terrifying Trent appears, there remains a hint of sympathy. We come to understand that this grown man is kept in a basement because for him, it’s the only way to maintain a relationship.

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2025-04-18 02:17