Following its Frontieres market pitch a few years ago and a successful Indigogo campaign, The Void shot in Canada last year with Aaron Poole, Kathleen Munroe, Kenneth Welsh, Ellen Wong, and Art Hindle. The film premiered at Fantastic Fest 2016 in Austin to a packed house, with producer Casey Walker and directors Jeremy Gillespie and Steven Kostanski in attendance.
The Void draws inspiration from a number of horror influences, including Hellraiser, The Beyond, H.P. Lovecraft, and Lucio Fulci.
Those expecting the absurd comedic touches of Aston-6 (the filmmaking collaborative of which Gillespie and Kostanski are part) are in for a surprise, because The Void is grim. However, those who have been paying attention know not to expect any funny business here, unless your idea of laughs is a Rob Bottin-masterminded hand basket to hell as designed by Lucio Fulci by way of Assault on Precinct 13.
The practical special effects really steal the show from the characters as the story evolves from a bad night into all hell literally breaking loose. The set pieces and gags are simply fantastic and it’s fun to see what what happens next as the next funhouse door yawns open. There are some spectacular creatures that pop up to roam the halls and will probably haunt your nightmares. Fans of practical effects will relish this film.
Aaron Poole plays Officer Daniel Carter, a cop who stumbles upon a man crawling in the forest in need of help. A trip to a nearly closed rural hospital kicks off the beginning of the end for several characters unlucky enough to be in the hospital at the time.
Carter’s estranged wife Allison (Munroe) is the head nurse, who, along with Dr. Powell (Welsh), are the two in charge at the desolate hospital when Carter brings the drifter in. A father and son tracking the drifter burst onto the scene to demand that the man be given over to them.
Also, there’s a dangerous cult in white robes following the pair and everyone barricades themselves in. The trick is to survive the night and the monsters. To any horror fan who knows the work of Fulci, many scenes will feel familiar, particularly the homages to The Beyond.