Co-directed by Dallas Hallam and Patrick Horvath, Entrance is a deliberately paced indie offering that bills itself as a psychological thriller but in actuality is a fairly aimless tone piece about twentysomething emotional dislocation that only in its final reel leaps somewhat clumsily into genre-oriented skirmish and combat. As a showcase for narrative restraint and a non-forced lead performance by newcomer Suziey Block, the movie works on a theoretical level, but its grip is a bit too slack and its payoff too pointless to really recommend it.
The story centers around Suzy (Block), a young Los Angeles woman who can’t quite locate happiness. She lives with her dog and a roommate, and works as a barista, but still seems plagued by a fog of unhappiness. She dates a bit, but doesn’t have a fulfilling romantic relationship. When her dog disappears and she starts hearing strange noises, Suzy begins to feel like there’s a menace lingering just outside her field of vision. After she makes the decision to leave L.A. and move back home, her friends decide to throw Suzy a going-away dinner party.
Entrance aims for a sort of free-floating menace of loosely the same type that movies like Martha Marcy May Marlene, Sound of My Voice and even the Duplass brothers’ Baghead plumbed, but it chiefly misses the mark. The film’s mise en scene is interesting and impressive, especially for the budget on which it is achieved. The problem is that there’s just not enough “there” there; employing a sort of pedestrian parallelism, along with a minor allergy to dialogue, Entrance stretches minute shifts in everyday humdrum events past the point of intrigue, and into tedium. For the full, original review, from ShockYa, click here. (IFC, R, 84 minutes)