The Void


Action / Horror / Mystery / Sci-Fi / Thriller

Rotten Tomatoes Critics - Certified Fresh 74%
Rotten Tomatoes Audience - Spilled 53%
IMDb Rating 5.8 10 25204


Uploaded By: FREEMAN
Downloaded 187,355 times
April 28, 2017 at 05:32 PM


Ellen Wong as Kim
Kenneth Welsh as Dr. Richard Powell
Stephanie Belding as Beverly
Aaron Poole as Daniel Carter
720p.BLU 1080p.BLU
659.86 MB
23.976 fps
1hr 30 min
P/S 2 / 13
1.37 GB
23.976 fps
1hr 30 min
P/S 2 / 12

Movie Reviews

Reviewed by seanpatrick-36000 9 / 10

Criminally underrated

I'm floored by the poor reception this movie got. It's a loving throwback to horror classics with modern polish, clearly influenced by HP Lovecraft and body horror classics like Hellraiser and The Thing. If you like "classic" horror - i.e., horror before CGI and jump scares replaced practical effects and slow dread - you owe it to yourself to watch this movie.

It does drag a little bit at the end, but the opening and middle are fantastic. I would have given this movie a 10/10 if the denouement had been done more efficiently. But honestly, it's very watchable right up to the credits.

This movie has some of the best damn body horror I have EVER seen, period. I don't know how much of it was accomplished by practical effects, but it does seem like a lot. The acting is mostly good, and the pacing, while slower than most modern horror movies, is brisk enough that I didn't get bored.

I really wish horror movies like this were still getting made.

Reviewed by MisterWhiplash 5 / 10

half the work was done here. guess which half?

On the effects and style end, The Void is an example to all of those filmmakers who say "fix it in post" and want to only use CGI blood instead of actual syrup mixed with whatever. It's an often grotesque display of what can be done with rubber and latex and some imagination. Is it the *most* imaginative use of practical effects? Perhaps not, but it's a lot of the time in the designs, and that the lighting is often cued to make us see the creatures and monsters and tentacles so that it's just real enough without becoming fake. And there are some unsettling choices in direction and atmosphere - how we first are introduced to the mind-control aspect involving a nurse with a scalpel and a face as revealed to be pretty much (gulp) torn off is exciting and disgusting. These directors weren't lazy when it came to effects, but unfortunately they became lazy when it came time to do the *work* of a movie script.

These characters and the plot that are cooked up for The Void are half-baked, and the actors, while not necessarily bad, are not given enough to rise up to a challenge of doing something more than what their one (or simply half) dimensional characters require them to do. The set-up is The Thing with a bit of Night of the Living Dead and then there's I'm sure a butt-load of Lovecraft there too, as a small town cop and a few locals (including the cop's pregnant wife, who we don't find out is so until later on) are trapped in a hospital as strange, white hooded figures (no KKK component with that, by the way, they're more like evil monks one sees in horror with cult scnarios) with some powers that sometimes get sort of explained, and other time (mostly) do not. It's a siege movie where people walk slowly in dark hallways and down to dark cellars, and one of the stakes is that the pregnant girl may give birth at any moment. Plus, there may be a... inter- dimensional portal of some kind?

This is a movie made by people who clearly (nakedly) love their influences (and maybe smoked a good amount of weed possibly before the script writing process, maybe during too), but they didn't put in what has to be done to make us care about the characters. This is a story where people keep acting mean and obnoxious to one another because, well, DANGER! But one of the aspects of a movie like Carpenter's The Thing is that we get to know and like the characters, and while they're types the actors do a lot of good work to help flesh out the characters too. In here, the actors often have one expression planted on their faces, and it stays there whether it's panic or mean consternation or... more panic. And while I mention that the movie has some good atmosphere, it's not directed with a distinguishing vision that would set it as something unique: a lot of hand-held when it has to get intense, a music cue that comes in when a character does a surprise move into a room or reveal in a shot (and music that becomes extremely loud and *TELLING YOU THIS IS SCARY TIME*-like during some of the more gruesome scenes).

But more than with the characters, I don't think the writers/directors did a good job selling us on what the mythology is supposed to be. There's a lot of symbolism involving these triangles and shots of dark-ominous clouds rolling in the sky, and, obviously, there is some fantastical/outer-space/interdimensional things going on. Although we do eventually get two scenes where separate villainous characters monologue to other characters - one being someone who is curiously strapped down with some scary medical things about to happen, and the reveal is a good troubling sight, while the other fills in only the slightest gaps in logic and this by the climax - I wanted to know more about the rules here.

There's mind-control and there's sometimes scenes where this world of 'The Void' or what have you shows characters some of their dreams and tries to trick them with fulfilling their desires, and yet it's also not clear how they can do this and why it's only done to some of the characters. And moreover, if they could do mind-control, why doesn't the ultimate main Bad-Baddie get the pregnant woman to him sooner for what is ultimately an impregnation-incubus sort of plot? This is a lot of style that can often work though mostly in the use of practical effects, and I must emphasize that whoever did the effects deserves a free bar for a year for the amount of work put in here (though some of that reaction may be like a guy coming in from being in the CGI desert for so long, whether some of that is derivative too I'm not sure right after seeing it), and at the same time it's sizzle-no-steak.

I didn't go with high or low expectations since I didn't know much about the film, but that's usually a good thing I think: show me what you got and try to impress me with a vision that isn't encumbered by a franchise or a major studio breathing down your necks. The Void has its moments, but a lot of it is humorless and without charm (this really could've used, if one is going to go for the 'but its homaging Carpenter and Romero etc' argument like a Ken Foree or Kurt Russell or something, someone who can make me feel some concern for these people), and at worst it may be all too impressed with its own half-baked imagery and context. 5.5/10

Reviewed by samhigdon-81818 8 / 10

A breath of fresh air in the "Body Horror" genre

If you're reading this and haven't seen this movie yet, stop reading now and watch it before you go any further.


The movie starts off with a very effective cold opening that immediately hooks you and makes you want to learn just what the hell is going on. Then, for the next 20 minutes or so, it feels like it's going to be a generic thriller/slasher of some sort, but nothing could be further from the truth and at about the 25 minute mark all hell breaks lose. Right as it looks like the cult leader is going to dispatch the protagonist, they are both catapulted into the realm of "the void" in which we see the cop and his ex-wife come face-to-face with the massive pyramid from the visions that have been alluded to in earlier visions/premonitions while the doctor seemingly vanishes and we are left to ponder his fate and the fates of the lead characters; what happens next is left up to our own imaginations.

This movie is a fantastic love letter to the practical effect stylings of John Carpenter, David Cronenberg and Clive Barker mixed with H.P. Lovecraft folklore. While the movie is riveting all the way through, as the credits roll, you come to the realization that multiple viewings are going to be mandatory. It's just not possible to comprehend everything that you see after your first watch (hence the Lovecraftian aspect).

While this is not a cinematic masterpiece, it is extremely effective by being purposely ambiguous (especially the ending). The viewer is treated as one of the inhabitants of the world that is being portrayed on screen which serves as an impetus to help make a connection with the movie's characters. Upon watching/reading reviews for this movie it's surprising how many people complain about this. It's saddening that the majority of audiences and critics have been conditioned to need to be spoon fed the backstories of every character and need absolute resolution at the end of every movie so everything gets tied up in a nice, neat bow. Ambiguity isn't a bad thing, quite the opposite! I believe the filmmakers were purposely ambiguous and understand that everyone fears, if you realize it or not, the "unknown" which is the one characteristic that is innate to humans and distinguishes us from every other animal on the planet. Our brains are hardwired to recognize patterns in order for us to be able to make sense of the world around us. When that mechanic is subverted we naturally get uncomfortable and uneasy because we can't make sense of what is happening.

Another gripe that people are raising is that the whole movie is a series of highly unlikely coincidences that need to be played out exactly how they are in order for the movie to work i.e. the cop having to go to the one hospital where his ex works which is the same place where the doctor/cult leader conducts his ritualistic machinations.

At the end of the day, all movies are naturally divisive in nature no matter what the genre. The best ones are thought provoking and stimulate debates/conversations well after they have been seen and this is one of the best examples of that. Everyone is going to have their own interpretations and thoughts about what the movie was actually about and that's ok; that's what great entertainment should do.

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