I recently reviewed Randal Plunkett’s short film Walt and
The story starts with the main character (Conor Marren) regaining consciousness in the woods. He has blood trickling from a head wound, and no idea where he is or what happened. We follow him backwards and forwards in time as he investigates the local area in the present, interrupted by flashbacks of memories from the past, (including the delicious Emma Eliza Regan.) Time-hopping can be a frustrating experience if done incorrectly, but the writing and editing in Out There are so clean that you always know exactly when and where you are in the story. It’s fun to discover the story along with the hero as he recovers his memory.
Unfortunately, what happened in the hero’s past is just as horrible as what’s going on in his present, and the two storylines converge in a horrible decision and an ending that gave me goosebumps.
Similar to the style of Walt, this story eases you in, taking the time to descend through genres of mystery into thriller/suspense and finally, horror.
Once again Randal’s work is impressive in both pre and post production. The acting, set design, cinematography and editing in Out There are all worthy of large-scale distribution. One thing that really stood out for me was the sound. Having worked at a recording studio and recording audio for film, music, and audio podcasts for over a decade, it’s safe to say I’m more sensitive to audio than your average person. But too many movie makers overlook (or underestimate) the effect of the sound. What kind of music to use, how much to use, and even when to leave it out are things that more movie makers should work on, but Randal Plunkett and his crew have a really good grasp of how to use sound effectively. From the score to the ADR to the foley, the sound in Out There is excellent.
Check out the trailer for Out There below: