Creep. 2015. Directed by Patrick Brice. Written by Patrick Brice & Mark Duplass.
Starring Patrick Brice & Mark Duplass.
Rated R. 82 minutes.
★★★★★I know Mark Duplass mainly from two sources – his amazing portrayal of Pete on FX’s raunchy fantasy-football comedy The League, and the film Baghead which he co-directed with his brother Jay Duplass. He’s a great talent, and of course I’ve seen his other work; another film he wrote and directed with his brother I love is the acerbically funny Jeff, Who Lives at Home. But it’s his performance on The League I love most.
In Creep, Mark Duplass channels brief spots of Pete, which I think are mostly culled from his own personality anyways, and yet there is a real childish gentle quality to the character he plays – at least in the beginning. This, above all else, drives Creep into terrifying territory.
The film starts with Aaron (Brice) who is heading to meet someone he has contacted through Craiglist that wants to be filmed, of course in exchange for money. Aaron arrives at a cabin in the hills where he meets Josef (Duplass) who explains he is dying, and about to be a father, so he wants the video of him to reflect the good & bad of him; later to give to his son. Josef wants to be filmed constantly. Even as he strips naked for a bath, what he calls “a tubby“, which is recorded all for his yet-to-be-born son, Josef asks Aaron “are you okay?“, and seems to want him to be at ease during the process. Uncomfortable, yet harmless, the conversation and relationship develops between Josef and Aaron, but all is just not as it seems.
For those who don’t want a small portion of the film spoiled – turn away. I think when I really started to finally become unsettled is partway through the film as Aaron shuts off the video on his camera, but leaves the audio recording, and Josef reveals something he’d never told anyone before. It starts off like a weird animal porn story, evolving into a quasi-rape Josef says he perpetrated on his wife while wearing a wolf mask. This comes only awhile after we first see the mask – Josef tells Aaron initially the thing was a mask his dad had, a character named Peach Fuzz that he’d developed. But once the story is told, which worked well only as audio because it ratcheted up the suspense, the wolf mask takes on a new terror.
What I love most about Creep is that the found footage sub-genre is used appropriately. Maybe there are a few minor nitpicks, but for the most part this film really follows the unwritten rules of the sub-genre to perfection. Best of all, the premise of the story fits in very organically with found footage.
Even further I think the idea of the whole thing initiating from a Craiglist ad is a great post-modern twist on the genre; while scary and enjoyable as a movie, it actually makes you re-think the whole idea of the online communities such as Craiglist where people anonymously perform transactions on everything from professional jobs to the unprofessional world of buy, sell, trade, and online prostitution. But most of all, the fact it’s just two guys, two characters, for the most part in one remote setting the greater portion of the film really works for the whole story. The found footage sub-genre often fails and seems beyond stale when the style is being forced inorganically into a situation where there’s disparity between how a camera should or shouldn’t play into each scene, and so on. This in turn stirs the nitpickers who will tear a film apart, sometimes rightfully so, to say ‘this doesn’t follow the “rules”‘ or what not. The sparse setting, characters, and basic plot really help the environment remain controlled and helps showcase the found footage style without too much going on.
The moment that got me most is the phone call from Angela, when Aaron picks up the phone. A real great reveal, so to speak. It sort of peels away Josef’s facade slow with each sentence until you sort of gasp to yourself – not terror, but the feeling of the moments before a terror strikes – and from that moment on the creepiness descends upon us in torrents, waves, scene after scene, up to the end.
The mask really creeps me out. At first it wasn’t so scary, but in the final half hour it becomes the thing of nightmares; one scene, as Josef wears the mask and stands blocking a doorway, is spectacularly weird and creeped me out wholly.
There’s a genuine amount of suspense going on throughout the closing fifteen minutes or so, an air of dead, which ultimately leads to a real shocking conclusion. I thought it was about to go one way, yet still the finale was surprising, and didn’t come exactly as I’d expected it to. Duplass really makes the last couple scenes pop with the creep factor he puts out, and you should freeze frame it if you can right before the credits roll – a very dark, suggestive shot, brief and yet long enough to get under the skin. Then the title appears, the credits go, and you’re left to ponder. Great stuff.
I’ve got to give this a full 5 stars. Going into any Blumhouse film I’m honestly weary. There are a couple films I don’t mind, a couple I like, and then several I hate. Creep delivers the goods. Sure, it’s a very contained and limited film, but that’s not to say those are negative commentary. As I said earlier, I think found footage can be terrible if it tries to put in too much, this is exactly why Brice’s film is directed so well in my mind, why the shots all work and things seem to flow naturally without being forced. This is one of the most efficient uses of the sub-genre in horror. Along the way there are some excellent comedic moments, mostly dark I think, and they come in little bursts. I honestly found myself dropping my jaw a few times, amazed at the way things were going in the awkward relationship between Aaron and Josef – I watch a ton of horror, I’ve seen a ridiculous amount of gore and shock horror and all that, but regardless, Creep has so much tension, suspense, and the performance Duplass gives is creepy beyond belief, that the film goes over perfectly.
See this, ASAP. It’s on VOD via iTunes, and I would assume other platforms, today. Real great little watch. It isn’t an outrageous horror with elaborate plot, it doesn’t have any blood in it, or monsters, or supernatural entities – it is a straight up, balls to the wall psychological horror, and it melted me. I loved it. I can’t say that enough. And not to ruin anything, but I hope that they’ll expand and go for a sequel. No doubt Blumhouse is already champing at the bit for a sequel, or two, or three. This is one film I wouldn’t mind seeing more of, maybe even a prequel to see Josef before he arrived to his relationship with Aaron.
This is a creeper of a movie. I can’t wait to watch it again.