The Horror Show
The Tent
by Kyle Couch
We’ve seen a number of post-apocalyptic horrors of late; in particular a trend toward off-camera threats hunting hapless survivors just trying to, well, survive.
The Tent fits largely into that category and is where we meet David (Tim Kaiser), the sole inhabitant of the titular tent who, having gotten caught in one of his own traps, finds himself in need of assistance and is rescued by the timely and enigmatic Mary (Lulu Dahl). On agreeing to let her stay the night, the stage is set for a few well-planted seeds of doubt as to Mary’s real intent and David’s reasons for ending up where he did. Also, there are monsters.
If that were all there was to The Tent, it might be considered lacking in a market already somewhat at capacity for this kind of deal. Lucky, then, that those who stick with it are rewarded with a beautifully-crafted and deftly-dealt emotional gut punch when the curtain is finally drawn back on how we came to find ourselves in David’s world. There is nothing more to be said here for fear of giving anything away, though an open mind and a pinch of salt will be required in equal measure.
Indeed, as poignant and beautiful as the latter half of The Tent is, getting there can be a struggle at times. Clunky, burdened dialogue moves the plot along at an uneven pace and flashbacks intended to fill blanks in David’s journey can be somewhat jarring at first. The film is further punctuated with pre-recorded footage of David, an amateur survivalist dispensing advice on surviving in the wilderness and it would be enough to let these serve as signposts to the next act. Amid said flashbacks, quick cuts and all the while juggling a teasing, drip-fed plot, it often feels like too much is happening and an already short 80-minute runtime is being unnecessarily padded.
There is, however, a crisp succinctness to the opening exposition many apocalyptic thrillers, or simply movies with a lot of required set up, could learn from. Kyle Couch, who both wrote and directed this film, has an eye for a winning concept and this one is at its core original, striking, and poignant, regardless of a few minor faults in execution.
Major props should also be given to Lulu Dahl who carries a multi-faceted role with ease and heart. It’s through her we draw out the threads of David’s being and ultimately, we take the journey with her. Kaiser brings an unassuming quality to David, a good man brought low, proving in many ways that just because the world ends doesn’t mean your demons die.
Though, at times the off-screen menace may seem redundant and maddeningly invisible, it’s here you make use of that pinch of salt because it bears repeating that where The Tent really soars is in its final act. Both Dahl and Kaiser pull out all the stops, an emotional levee tears open and makes up for every one-note exchange that had occurred previously.
I strongly urge you to forgive this one its flaws. It is a heartfelt and unique take on how our world ends.
HMS received a screener of this film in exchange for honest review. The Tent is available now On Demand.
Ryan Kennedy, HMS
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