‘Ash’ Review: New Planet, Same Old Threats in Flying Lotus’ Hollow-Core, Flashy-Looking ‘Alien’ Remix

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People often exaggerate by using “mind-blowing” to hype sci-fi films excessively, but when it comes to Flying Lotus’ visually daring “Ash,” the term seems fitting. The movie may lack a strong narrative, but its beauty is reminiscent of a breathtaking sunset (or perhaps the human race as a whole). The film begins with a shot of the chaotic cosmic storm brewing inside an astronaut’s brain, far away from earth, before quickly pulling back to reveal the terrified expression on Riya Ortiz’s face (played by Eiza González). This is followed by a series of shocking images, each depicting one of her crewmates with their head either crushed or blown apart.

What was the method of their deaths? It was incredibly unpleasant. Skip ahead 90 minutes, and the closing scene (hidden in the credits, after some viewers might have left) is another shocking twist. Throughout this movie, “Ash” takes a more traditional approach compared to the creator who brought us the provocative Sundance film “Kuso” and the disturbing segment “Ozzy’s Dungeon” from “V/H/S/99”. This film is a vibrant tribute to terrifying alien horror movies, such as “Alien” and “Event Horizon”, with an adversary that behaves in mostly expected (though often unexplainable) ways.

The movie’s striking visuals leave an indelible impression on your mind, often resurfacing in your dreams. The characters, including González’s radiant Riya with her chiseled cheekbones more defined than any tools she handles (a butcher knife, scalpel, or bonsai tree pruning scissors), are a visual delight. Riya wakes up at the start of the story with a wound on her forehead, having lost memory of past events, but soon realizes the dangerous circumstances when she finds the bodies of three of her crewmates: Kevin (Beulah Koale), Adhi (Iko Uwais) and Davis (Flying Lotus).

While examining the surroundings, the ship’s computer advises of unusual behavior (in English, while a surgical robot in the infirmary communicates solely in Japanese). This is Brion (Aaron Paul), who says he’s calling from the closest space station. On the other hand, Kate Elliott’s Clarke (the only character identified by her last name) remains absent – so she must be the guilty one, isn’t she? If you think that or even feign interest, you shouldn’t watch “Ash,” which resembles a haunted house more than a movie. It’s filled with jump-scares that pop up unexpectedly, and Flying Lotus provides the soundtrack.

As a movie enthusiast, I found myself immersed on set with the DJ-turned-director spinning tunes for the cast. However, despite the visually captivating album-like quality of this film – where narrative flow takes a backseat – I must admit that the soundtrack fell short of my expectations. It’s primarily composed of pounding beats and machine hums, which is more industrial than what Flying Lotus or the RZA could deliver in terms of dance music. Nevertheless, the soundtrack manages to create an unsettling psychological atmosphere, complementing Bryan Shaw’s erratic editing and the frequent strobe light flashes on screen with its rhythm that feels disjointed from everything else.

Occasionally, the director jolts us by abruptly switching to a gruesome corpse in a shockingly close view – one with gory scars and bizarre characteristics that could be fascinating to examine at a later time, when you can pause and thoroughly appreciate the peculiar details. Initially, these scenes seem like sudden, jarring images from a medical textbook (graphic wounds, foul-smelling substances) being shoved in your face while having breakfast. However, once you recognize the pattern, it becomes easier to predict when such disturbing images will appear, and the impact gradually lessens.

Flying Lotus primarily relies on remixing key elements from various films in this genre, rather than introducing many new tricks. This culminates in a critique of humanity’s colonial instinct, a theme that is often implied in science fiction movies where Earth beings encounter potentially superior alien species. Essentially, the question being posed is: What if we find a place we can’t control, and the aliens return our actions back to us? Screenwriter Jonni Remmler revisits familiar themes, such as when the malevolent force taunts with, “Your species is doomed to self-destruct.

Cliches can be tedious since they’ve never sparked genuine change in audience behavior (people continue to leave trash under theater seats). However, Flying Lotus employs an unusual tactic with cinematographer Richard Bluck, a seasoned blockbuster professional showcasing his widescreen skills. “Ash” is so named for the planet where the story unfolds, and the explorers we encounter in flashbacks remain enigmatic figures. They appreciate the planet’s stark beauty, marked by rugged landscapes and active volcanoes. Instead of subtly conveying these ideas like “2001: A Space Odyssey” or “Solaris,” Flying Lotus chooses a more forceful, sensory approach, drawing inspiration from John Carpenter’s “The Thing.

In my perspective, when the enigmatic entity ultimately makes its appearance, it undeniably falls short compared to other visual effects in the movie. Yet, it aligns perfectly with the director’s broader creative vision, offering a captivating array of unforgettable scenes: me, standing outdoors under a shower of ash particles; minimalist interiors bathed in indigo and red light; a furious typhoon rising from a borehole on a transformed planet; a scene that will make your skin crawl – the removal of a deep-brain parasite. This particular image serves as an apt allegory: scrutinize your thoughts, and you’ll find yourself unscathed.

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2025-03-12 20:21