I watched Skinamarink and I hated it. 1/5
–
Skinamarink ventures into the realm of experimental horror, poised to elicit a spectrum of reactions from its audience. Its distinctive ambiance and disconcerting visuals might deeply unsettle some, while leaving others grappling with its apparent lack of coherence and moments of tedium.
The narrative centers on the plight of two young siblings, Kevin (Lucas Paul) and Kaylee (Dali Rose Tetreault), who awaken in the dead of night to find their father conspicuously absent, and their home bereft of any recognizable points of egress. In their struggle for survival, they are compelled to lean on each other, their shared journey forming the crux of this enigmatic tale.
Kyle Edward Ball’s directorial choice to exclusively adopt the children’s perspective orchestrates an atmosphere of stifling confinement and disorientation. We, the audience, are privy only to what Kevin and Kaylee perceive, a strategic move that amplifies the sense of foreboding and anticipatory tension.
The visual palette of Skinamarink intentionally employs a grainy, low-fi aesthetic, purposefully heightening its unsettling ambiance. Pervasive darkness prevails, intermittently punctuated by meager light sources like feeble lamps and sporadic flashlights. This aesthetic design generates a nightmarish, claustrophobic milieu, guaranteed to perturb even the most seasoned aficionados of the horror genre.
Yet, the film’s narrative arc remains intentionally vague, its plot points scarcely developed. A lack of explicit exposition leaves a considerable chasm, demanding the viewer’s active involvement in piecing together the puzzle. This ambiguity, straddling the boundary between vexation and reward, is the fulcrum on which Skinamarink teeters.
The film’s protracted sequences of vacant rooms and dimly lit corridors, while effective in crafting an atmosphere of dread and suspense, straddle the line between engrossing and monotonous. Some may laud this deliberate pacing for its efficacy in fostering an unrelenting sense of trepidation, while others may grow weary of its repetitive cadence.
Regrettably, the characters of Skinamarink suffer from a lack of depth and complexity. Kevin and Kaylee, the fulcrum of the narrative, remain enigmatic, their motivations and inner lives obscured. This obfuscation diminishes the emotional investment one might have in their plight.
Nevertheless, the performances in the film are commendable. Lucas Paul and Dali Rose Tetreault deliver authentic, compelling portrayals of the two siblings. Their ability to convey the fear and bewilderment inherent to their characters is accomplished without resorting to melodrama or exaggerated affectations.
Ultimately, Skinamarink is an audacious foray into the realm of experimental horror that will inevitably incite diverse reactions. Its distinctive ambiance and unsettling visuals may profoundly disturb some, while others may grapple with its apparent lack of coherence and instances of tedium.
I would recommend Skinamarink exclusively to those with a penchant for experimental horror, and an inclination to engage with a deliberately paced, enigmatic narrative. It is a film best approached with an open mind, ready to confront its disconcerting vistas.