When I was kid, my family would take trips to Florida. We spent time in Palm Coast and other areas. I have family in the swamps of Georgia. Add to that my love of horror and a fondness for Lovecraftian oddities, and apparently, it makes me the perfect candidate for Offseason. To make it even more relevant, I have been following the Silent Hill franchise for years since the original PlayStation 1 days. It is almost as if this was something that was tailor made for others out there that may be like me.
I am pretty sure that most people reading this are very familiar with Silent Hill and the way that it has a foggy and atmospheric tension that builds with some super creepy monsters. In early iterations, those creatures were tied to the protagonist in some manner. In all of the installments, the story took place in fog-draped, decrepit towns. Similarly, Lovecraft is known for his horror and cosmic strangeness, most famous of which are the Elder Gods, especially one known as Cthulhu. Part of Lovecraft’s eerie writings also revolved around the inhabitants of a town called Innsmouth and its residents, queer townsfolk that are essentially people with fishy features, but are in fact almost a creation of the influence of Cthulhu himself.
So this brings me to the Offseason. After an opening dialogue from a dying elderly woman, we meet Marie Aldrich. Aldrich….Eldritch….Coincidence? Marie is returning to a small secluded coastal town after receiving a letter. Something from the very beginning seems off. These little things just seem to set the tone and build to what I said earlier: Offseason is a story that touches on styles and influences of both Silent Hill and Lovecraft. This is the part of the movie I enjoyed. I’ve played board games based on the Lovecraft mythos and all the Silent Hill video games repeatedly. The atmosphere of the movie, the rough, almost abandoned looking mist blanketed town seems like a place you expect to see Pyramid Head come walking around the corner at any given moment. Add to that a town history making a deal with someone from the sea, and it makes an almost perfect setting for a victim returning home.
It’s rare that I come across a movie that I don’t have many complaints about. Horror tends to be a genre that repeats its clichés no matter what the style. Sure, Offseason tends to repeat those mistakes, but any horror fan has almost come to expect the presence of tropes. However, in this case it seems to be done in a manner that isn’t so distracting and is actually interesting to see unfold from start to finish. The only real complaint I have is some questionable acting. Again, if that is the worst a horror flick has to offer, I can deal because it is expected.
Finding so much to like about the movie makes me want to recommend this to anyone. With a little slow pacing at times, it may not be for everyone, but with the story, set, and design influences appearing to obviously be nods to Silent Hill and Lovecraft, Offseason aims at a somewhat pre-existing loyal fanbase. I do honestly believe there is something for anyone in this to enjoy in some way. It is an interesting story that builds its atmosphere from the beginning with a slightly predictable but entertaining storyline. All in all, check it out and enjoy.
Rorschach Rating:
Mental Health Moment: The story revolves around Marie and her dealing with certain issues concerning her mother’s recent death. Death in general can make almost any situation difficult. From trying to make arrangements or even functioning in a daily routine, the grieving process is there. It can make things confusing or even seem unimportant, and make the simplest tasks difficult to complete. Everyone grieves in their own way but it’s there to deal with the loss of someone or something you cared about. We all have outlets and support in some manner. The important part is to go through the grieving process with the support you need so as to not end up with some emotional trauma that could lead to future issues.
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Victims and Villains is written (and produced) by Josh "Captain Nostalgia" Burkey and others, and edited by Cam Smith. Music by Mallory Johnson and others. We do not own nor claim any rights.
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