Eiza González Shines in Flying Lotus’s Stylish Sci-Fi Horror ‘Ash’

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In a more conversational manner: The phrase “style over substance” is often used negatively, but it doesn’t always have to be. It can be employed to describe films like Suspiria, Beyond the Black Rainbow, Branded to Kill, THX-1138, Playtime, In the Mood for Love, and many others, not to mention experimental cinema. There’s nothing wrong with that. The new film by Steven Ellison (alias Flying Lotus), Ash, is a perfect example of this approach, and it’s incredibly stylish. However, the issue lies in its attempt to add substance, which results in a story filled with plot inconsistencies, worn-out concepts, and minimal emotional resonance. Luckily, the style of Ash and Eiza González‘s captivating performance outweigh these shortcomings significantly.

Space Is the Place for Flying Lotus

Flying Lotus is quite innovative, and it’s amazing how he infused his unique style into a sci-fi horror film that’s more approachable. Previously, FlyLo’s work has been unsettling and downright grotesque, like the Tim & Eric Awesome Show meets the horrors of The Human Centipede. In contrast, the movie Ash is less like the repugnant punk chaos of FlyLo’s Kuso or his disturbing DIY doom from his entry in V/H/S/99. However, it still carries the artist’s twisted perspective, but in a way that’s less nauseating. But make no mistake, Ash isn’t without its share of battered faces and throats slit open.

Indeed, the movie opens by showing everyone aboard a spaceship on the planet Ash already dead. The only exception is Riya (González), who wakes up in her room with no recollection of the events that transpired. She’s found to have a wound on her forehead and the ship’s computer alerts about an intruder. Upon investigation, she discovers one crew member with a stab wound, another with a slashed throat, and another with a crushed face. Leaving the spaceship, Riya decides to explore the exterior of the landed craft and the nearby planet.

Ash’s ambiance shares some resemblance with Earth’s, yet it appears to be harmful for human respiration over extended periods. It seems as if ash flutters down like snowflakes on this intriguingly designed and eerie planet. A vague figure is spotted in the distance who seems to mirror Riya’s actions, much like a reflection from afar before vanishing into the mist. Could it be an illusion? As Riya starts feeling suffocated, she instinctively searches for a medical patch and applies it to her neck. Not long after, someone named Brion appears at the ship’s door, pounding frantically. It seems that the figure in the distance was not just an illusion.

Eiza González Rises Above a Weak Script

As a movie enthusiast, I embark on a review of a captivating sci-fi tale that introduces me to two main characters: Ash and Brion, portrayed by Aaron Paul. From the get-go, it becomes apparent that the script exhibits an initial uncertainty, penned by a young Swiss writer with limited experience in the field. Despite this, the final version of the script retains an unpolished, raw feel, giving the narrative a unique, authentic charm.

Upon Brion’s entrance, he’s taken aback when Riya fails to recognize him. He asserts his association with their shared mission, 7F – a venture aimed at exploring the planet following six previous failures. Regrettably, the details of this intriguing premise are scantily explained. Brion’s primary objective is to return Riya to the space station orbiting the planet within 12 hours, once their alignment with the station allows it.

Riya utilizes that period trying to recover her lost memories and figure out what transpired with herself and the others. This isn’t a strictly systematic approach, nor is it a puzzle to be solved. Instead, she gradually recalls a romantic involvement with one of the crew members, leading to a heated confrontation with Brion as she presses him to remain on the planet longer for answers, but he refuses. However, Ash‘s character fails to create any genuine emotional bond or significant reasons for the audience to care about Riya’s quest to uncover the deaths. Despite González delivering a tense and physical portrayal, the viewers lack an emotional attachment or dramatic stake in her desire to solve the mystery.

González works here as she effectively portrays her complex emotional state, including confusion, physical suffering, and doubt towards Brion and even herself. She is also visually appealing and capable of convincingly performing action scenes. However, the drama in Ash relies heavily on Riya being in love with a crew member and seeking answers about their fate and that of the rest of the crew. Unfortunately, FlyLo fails to provide any compelling reasons for the audience to emotionally invest in this storyline.

The brief glimpses into the past are overused and lack depth, leaving all characters feeling hollow and uninteresting, not even reaching one-dimensional status, but rather resembling flat cardboard cutouts. Moreover, the storyline seems to be pieced together from various elements of films such as Alien, Event Horizon, Parasyte, Planet of the Vampires, Sunshine, Solaris, and others, with Ash focusing more on crafting a psychedelic horror experience than developing compelling drama, a coherent plot, and authentic characters.

A Heavy Horror Head Trip with Great Style

In a striking fashion, the psychedelic sequence within the movie is exceptionally well-executed. This section of the film is disorienting, unsettling, yet undeniably captivating due to the director’s skillful handling.

The director masterfully crafts an immersive audiovisual journey for the audience, and it appears his expertise lies in managing both the audio and visual aspects. Remarkably, he composed a spectacular sci-fi soundtrack for the film, which harmoniously complements Richard Bluck’s radiant cinematography and Bryan Shaw’s visually stimulating editing techniques. Sam Storey, the art director, contributes an otherworldly, enchanting design that mirrors his work on films like Avatar and The Rings of Power.

Due to these various aspects, the ambiance remains ideal throughout (although the dialogue can at times become confusing due to the background noise, making it challenging to follow the somewhat shaky narrative). Rapid bursts of hauntingly vivid, terrifying visuals accompany Riya’s quest to recover her memories, gradually increasing tension until the movie erupts with action and brutality. Few can match Flying Lotus when it comes to gore and body horror; the only comparable works are those infamous “melt movies.” The scenes are slimy and sticky, filled with fluids and squelching noises; grotesque faces are illuminated by strange lights and colors, adding an eerie quality; the pain is tangible, yet there’s a peculiar absurdity to how vile and bizarre everything appears.

FlyLo skillfully balances body horror in ‘Ash’, ensuring it’s neither overwhelming nor off-putting for regular sci-fi or horror viewers, or even arthouse audiences who can handle a bit of grit. The unsettling elements perfectly complement the movie’s tone, crafting a highly stylized viewing experience. Regrettably, the last five minutes before the credits feel forced and unjustified. Flying Lotus is an impressive director in search of a stellar screenplay. Ash could have either delved deeper into its characters or plot, or abandoned them to fully immerse viewers in a horror journey. Instead, it occupies a somewhat awkward space, yet the horror trip it offers is still quite compelling. Produced by XYZ Films and Shudder, ‘Ash’ is slated for theater release on March 21, 2025.

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2025-03-20 06:05