Impressive on many counts, not the least of which is that director Dutch Marich, on an indie budget, weaves his magic to manifest cinematography, lush scoring, superb casting and dread to match a 10x bigger budget film. While I might quibble with his choice of the film's resolution, I have no quibble with the uniqueness of the story - women who are assigned a work release program after getting out of prison mysteriously disappear - or other exceptional attributes.
The casting is quite singular, especially for an indie, which tends to populate films based on good looks to the detriment of character or backstory. There is not an actor in the film who is not interesting to watch, authentic to the role, and charismatic.
The cinematography, combined with the scoring, are the first things we notice, with sweeping pans over the town and vista, moving to the railyards where the action is centered. The music evokes the lush scoring of Bernard Herrmann or Elmer Bernstein from Hollywood's golden era, underscoring the lushness of the cinematography.
This director has the maturity and instinct to let the story take its time, and build up the suspense and dread, which reaches nail-biting moments as it reaches the apex, near the end.
Many idiosyncratic touches also add to the director's taste and confidence in his craft - from the vintage tape recorder to the casting of the newspaper editor and reporter to the use of an intriguing railyard museum in a desolate Nevada town as backdrop.
And the expert use of drones to provide the panoramic sweep and enhance the suspense and dread, as well as the subtly of the drone movements, is impressive even on its own terms.
Many idiosyncratic touches also add to the director's taste and confidence in his craft - from the vintage tape recorder to the casting of the newspaper editor and reporter to the use of an intriguing railyard music in a desolate Nevada town as backdrop.
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