The Mind's Eye (2015) **1/2 [Joe Begos Double Feature Pt. 1]
As with his debut feature, Almost Human (2013) (my review here), director Joe Begos' follow-up is a bit too derivative of other films to set itself apart, but it's clear that Begos wasn't setting out to advance the horror genre with either release.
The Mind's Eye (2015) again stars Graham Skipper as the lead, one of the things that hurts the film—Skipper is certainly earnest but his acting is so-so (and laughable in moments when it's supposed to be serious). In some ways, TME is a step up from Begos' first film—the production values are higher, the action and f/x are better, and the score by Steve Moore adds a level of credibility. But as the movie progresses, as with his debut, Begos relies too heavily on borrowing—this time from David Cronenberg/Scanners (1981) (my review here) and Brian De Palma/The Fury (1978).
Story and characterization take a back seat for gory telekinetic set pieces, which are fun, but become pretty repetitive. The blue, red and green lights that Begos bathes some scenes in feel out of place and call too much attention to the artifice. There's also a mean streak in Begos' films that makes me not care about what happens to any of the characters. TME is another one where I appreciate the effort and the passion behind the project more than the outcome.
The Mind's Eye (2015) again stars Graham Skipper as the lead, one of the things that hurts the film—Skipper is certainly earnest but his acting is so-so (and laughable in moments when it's supposed to be serious). In some ways, TME is a step up from Begos' first film—the production values are higher, the action and f/x are better, and the score by Steve Moore adds a level of credibility. But as the movie progresses, as with his debut, Begos relies too heavily on borrowing—this time from David Cronenberg/Scanners (1981) (my review here) and Brian De Palma/The Fury (1978).
Story and characterization take a back seat for gory telekinetic set pieces, which are fun, but become pretty repetitive. The blue, red and green lights that Begos bathes some scenes in feel out of place and call too much attention to the artifice. There's also a mean streak in Begos' films that makes me not care about what happens to any of the characters. TME is another one where I appreciate the effort and the passion behind the project more than the outcome.
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