Last Updated on November 15, 2023
PLOT: When a couple buys a home with a secret room that grants any material thing you want, they make the age-old mistake of wanting a child. To no one’s surprise, a wish-kid turns out to be a bad idea.
LOWDOWN: THE ROOM (WATCH IT HERE – OWN IT HERE) originally debuted in 2019 at the Brussels International Fantastic Film Festival. Now it finally comes to a home audience as a Shudder exclusive. I was hesitant about Shudder when it first dropped. Why do I need another damn streaming service? The babies are bleeding me dry, and sooner or later, this cord-cutting trend will put us back in the same overpriced sinking cable ship we abandoned years ago. With the premiere of Greg Nicotero’s CREEPSHOW, Shudder had my curiosity, and with the return of the King himself Joe Bob Briggs, it now has my attention. THE ROOM is perfect for Shudder’s indie vibe that the channel strives for, and I’m glad to see this unique and exciting movie launch on a service I respect. You know, as opposed to the ongoing commercial masquerading as a streaming service called Hulu.
Directed by Christian Volckman (who did the visually stunning and badass RENAISSANCE) brings us a TWILIGHT ZONE-esq tale about a room that can materialize anything wished for by the person inside. An idea that seems pretty damn sinister, but things aren’t exactly what you’d expect. I figured this would be another take on “The Monkey’s Paw” where every wish comes with some bullshit catch (which I like, btw), but THE ROOM was more subdued when it came to the expected comeuppance.
Stylistically, everything about this upstate New York mansion worked for me. Its old, big, and has a real presence. It wasn’t creepy enough for me to question why the hell anybody would stay there (that happens more than I’d like to admit), but it has enough character to warrant a weird (man-made?) wish-room. THE ROOM isn’t extravagant with its visuals, but everything here looks cinematic yet still fits the bleak and empty tone. It’s science fiction but grounded and low key. The one thing that warmed The Iceman’s cold heart up was the look of the mystical room’s inner workings. The core of the machine (if it’s even that) is a beaut! It’s rustic and ancient yet seemingly approachable. With the intense wiring under every crevice of the house, whatever is going on, is bound by earthly constructs. It’s fascinating, and like the technology from Stephen King’s THE DARK TOWER, this seems like it was made long ago yet light years ahead of anything we could conceptualize.
The set-up is brisk and to the point, and has our couple figuring out the rules within the first night. I respect that they immediately go from zero to ten. Ballroom dancing in fancy clothes, eating luxurious food, and f*cking on a pile of money like we all want to do. It got primal fast, and that’s exactly how everyone else would do it. Don’t bullshit yourself. This isn’t the standard “be careful what you wish for” tale, and having our couple go from idealistic to materialistically numb so quickly grabs you by the balls. They ain’t wasting time here. It’s like a junkie trying to match that first high. They burn out quickly, which is before the revelation that everything they get disintegrates once outside the house. Issues with pregnancy complications cause Kate to make a foolish wish for the child she’s always wanted. Volckman’s intentions aren’t about the horror of life created by the room (which I thought was where this was heading), but empty materialism and the fear of parenting. What this film does surprisingly well is not going the safe route and making their child Shane straight-up evil. It subverts expectations (Rian Johnson has tainted that saying) by making the situation they’re in the driving tension, and not the kid alone.
The main focus is on the kid and how Kate blindly excepts him. Matt won’t even consider him human and hates the thing living in his house, stealing his wife’s attention. I loved the concept of children ruing a marriage and eventually taking president over the couple’s relationship. The film spends most of its time letting you soak in this child’s dread and unknown intentions. He’ll grow old and die if he leaves, yet he’s trapped in a prison of sorts with a hostel dad and desperate mom. You can’t really blame him for acting out. He doesn’t present any real threat in its first half. Sure, things seem off, but one could chuck it up to cabin fever (like being stuck in your house because of a pandemic?), but his obsession over Kate and his disdain for Matte leads things down a dark path. Olga Kurylenko does excellent as the emotionally torn Kate, and I did feel for her. The most substantial part of the film is her complicated relationship with Shane and the emotional beats of loving a kid that is not truly hers.
I know I’m supposed to relate to Shane as a stranger in a strange land, but I’m with Matt on this one. The kid wouldn’t have lived through the night If I had anything to do about it. Maybe my instincts are warped, but who’s to say he is not a soul-sucking creature from beyond? I’m not very paternal, and though I don’t blame THE ROOM, I never quite thought Matt was in the wrong even when the film clearly did. I ended up more on the side of the character who’s meant to be selfish and a little heartless. He was a dick to a child born into a house he can never leave, but since the nature of the room is unknown, I think it’s just safe to assume Shane is the devil incarnate. That’s just me, though. Can’t trust kids, especially a TWILIGHT ZONE-esq wish-kid! I was never a guy who wanted children, and maybe that has something to do with my suspicions. My wife and I made the decision not to have them. Instead, we will keep our looks, money, and free time. We ask for privacy and positive thoughts in these trying times.
When it comes to issues, THE ROOM’S biggest weakness is its exposition-heavy dialogue. Visually things looked perfect, and acting-wise, Olga Kurylenko steals the show, but Christian Volckman doesn’t seem to trust his audience. This may be script specific, but everything’s explained without the hint of nuance. I prefer a bit of mystery and just to let the story unravel naturally. More than a few occasions, something in THE ROOM is explained that could have easily ben understood without any added dialogue. Show it dammit! There is a character mid-way that slow drips exposition in a way that should have warranted a follow-up question. We could have saved a lot of time and stress if they just asked, “What do you mean exactly?” I know it’s a small complaint, but it took me out of the film more than once. It’s awkward, stilted, and seems a bit amateurish for a film that should be above that.
GORE: No red stuff here. The closest thing we get is the soulless eyes of a father not ready for parenthood.
BOTTOM LINE: We have two selfish but loving characters in a strained relationship, abusing a wish-room, creating life, and f*cking up the rest. That, my friends, is THE ROOM in a nutshell. Though this isn’t completely unique, It goes in an exciting direction and leans heavily into science fiction and mysticism in the third act. I commend it for embracing its roots and not being afraid to get weird. THE ROOM is a great think piece that manages to stand out above the rest but gets bogged down by some clunky dialogue. That may be a deal-breaker for some, but it works more than it doesn’t, and the stranger it got, the more I enjoyed it. The talented Olga Kurylenko gives one of her best performances, and is great in the role of Kate. THE ROOM isn’t perfect, but it’s a damn fine time that’s trying to do something a bit different. This isn’t a remake or a sequel, and for that, I am thankful.
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