FilmQuest 2018: THE APPEARANCE Review – THE NAME OF THE ROSE Goes Supernatural
Starring Jake Stormoen, Kristian Nairn, Adam Johnson, Michael Flynn, Baylee Self
Written by Kurt Knight
Directed by Kurt Knight
Period horror films have a special place in my heart in that they immediately have a different atmosphere that modern-set stories simply can’t have. There’s something about venturing into a previous time, where the world operated in subtly – and not so subtly – different ways, that ignites my imagination. Whether the story is set in the early 20th century, when electricity and cars were just beginning to get a strong foothold, or in medieval times, when the understanding of medicine and technology was often influenced greatly by faith, these films have my undivided attention. Perhaps that’s why I’m disappointed and saddened by The Appearance.
After a series of terrifying events, including a murder, take place at a monastery, the Church sends Mateho (Stormoen), an Inquisitor, to investigate claims that Isabel (Self), a young girl believed to be possessed by the devil, is the cause. A rational man who holds little in the way of faith, Mateho relies upon his friend Johnny (Nairn) to help him navigate through the monastery’s inhabitants, including the difficult and combative abbot Scipio (Flynn).
An interesting premise, The Appearance is bolstered by, overall, absolutely magnificent production values. The medieval town feels lived in while the abbey is a place of both faith and sinister mystery. Some small hiccups in the overall presentation don’t take away from the evil lurking throughout the labyrinthine hallways. The acting is also perfectly fine if not quite solid and the writing keeps the story moving along.
Where the film falters is unfortunately where it needed to be the strongest: committing to its premise. Uncertain if it wants to be seen as a period murder-mystery or a period supernatural horror film, The Appearance hovers between both yet fails to truly embrace either side. The climax tries to marry both genres but comes across as half-hearted. The murder-mystery angle is wrapped up with an obvious reveal that can be seen coming from a mile away while the supernatural horror element, which was doing pretty great up until then, tries to pull an emotional twist that falls flat.
The characters are also entirely forgettable in that they are almost entirely indistinguishable from one another. A couple of the monks have qualities that make them stand apart from each other but the majority are there merely as body count fodder. Some of them only have their names revealed in a lineup setting where Mateho demands to know the last time they saw one of their own, shouting one new name after another that we, the audience, are hearing for the first time. Nairn’s Johnny has probably 10 lines, at most, making his character feel like a bit of a waste. Even Mateho and Isabel are fairly flat and one-dimensional, the latter spending 99% of her screen time looking as eerie as possible.
The film also suffers from an almost two-hour runtime, which is definitely felt by the third act. This movie could easily do with about 15-20 minutes excised.
It almost feels like Knight was attempting to create a horror version of Jean-Jacques Annaud’s The Name of the Rose, which is a fascinating idea. The medieval days are certainly a great basis for all sorts of different horrors that were inflicted upon humanity, so it makes for the perfect breeding ground for a horror setup. Kudos have to be given for the attempt because it’s obvious a lot of heart was put into this film but it simply stumbles over its footing once too often.
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The Apperance
Summary
While pretty and atmospheric, The Appearance is unable, or unwilling, to commit to any of its foundations.
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