‘There is a Hell. This is worse.’
The Void is a 2016 Canadian horror film written and directed by Steven Kostanski and Jeremy Gillespie. Best known for their work as part of the Astron-6 collective (Manborg, Father’s Day), they are also design and FX veterans of major Hollywood productions (Pacific Rim, Robocop, NBC’s Hannibal).
The film released by Screen Media Films in the US on April 7, 2017.
Ellen Wong, Kathleen Munroe (Survival of the Dead), Aaron Poole (The Last Will and Testament of Rosalind Leigh), Kenneth Welsh (The Lizzie Borden Chronicles; Survival of the Dead; The Covenant), Art Hindle (Sicilian Vampire; Monster Brawl; The Brood), Daniel Fathers (Pontypool), Stephanie Belding, Amy Groening, Trish Rainone, Evan Stern, Mik Byskov, James Millington, Grace Munro, David Scott, Jason Detheridge.
In the middle of a routine patrol, police officer Daniel Carter happens upon a blood-soaked figure limping down a deserted stretch of road. He rushes the young man to a nearby rural hospital staffed by a skeleton crew, only to discover that patients and personnel are transforming into something inhuman.
As the horror intensifies, Carter leads the other survivors on a hellish voyage into the subterranean depths of the hospital in a desperate bid to end the nightmare before it’s too late…
“It isn’t concerned with making sure you know more about the story than the characters experiencing it. But (and this is crucial) it never feels like the filmmakers themselves are unaware of the finer aspects of the mythology they’ve built. The film commits, wholeheartedly, to that mythology. It builds a dense, convincing vision of hell on earth with style and ease.” Elijah Taylor, Fangoria
“It doesn’t add up neatly, but thankfully the film’s pace zooms so fast that there’s not enough time to worry about connecting the dots because another person is already getting stabbed in the neck with a scalpel, pulling off pieces of their own face, or hallucinating Tree of Life–esque spacescapes. It’s a relentless film whose volume is permanently stuck at 11…” Dan Gentile, The Austin Chronicle
“You get your money’s worth with each gasp, eye widening creature movement and tense reaction with The Void. Does this film fit every audience?, probably not. It does, however, fit more for gore hounds, practical FX and makeup disciples as well as fans of the early eras,where the visual aspect was the center of each world. Hats off to the sound and score work done for the film as well…” Jay Kay, Icons of Fright
” … monsters and the practical effects and the pervasive sense of hopelessness are the real stars of The Void and as it pulls no punches as it marches toward its hellish, non-stop third act. However, it does take a little while to rev its engines and the characters … The Void may not be an instant classic like the movies it was obviously inspired by, but it scratches the same itch as Hellraiser and The Beyond…” Jacob Hall, SlashFilm.com
“The Void works incredibly well for numerous reasons, but the special effects in the film are by far the project’s biggest asset, and Kostanski’s work in the special effects world demonstrates his keen ability to make the most out of very little (meaning: budget). Some of the creatures were absolutely astounding to watch (almost on the level of Rob Bottin’s work on The Thing or Bob Keen’s efforts on Hellraiser)…” Heather Wixson, Daily Dead
“The practical special effects really steal the show from the characters as the story evolves from a bad night into all hell literally breaking loose. The set pieces and gags are simply fantastic and it’s fun to see what what happens next as the next funhouse door yawns open. There are some spectacular creatures that pop up to roam the halls and will probably haunt your nightmares.” Michele “Izzy” Galgana, Screen Anarchy
“Though it evokes extreme filmmakers like Lucio Fulci (The Beyond), Stuart Gordon (From Beyond) and Clive Barker (Hellraiser), The Void offers slightly less perverse monster effects, holding back on the queasy, confrontationally sexualised charge of the video nasty era. It is, however, creepy, suspenseful and nerve-wracking – and marks Gillespie and Kostanski as genre auteurs in the making.” Kim Newman, Screen Daily
Sault Ste Marie, Ontario, Canada