Film Review — "Caveat"
You can’t trust a man with sideburns. From the moment Barrett offers Isaac the “babysitting” gig—to monitor his traumatized adult niece in an isolated home in bumfuck nowhere Ireland—you just know bad shit is about to happen. Isaac, a haggard man who looks like he just stepped out of a Herman Melville novel, has no memory of even knowing Barrett, although Barrett insists they go way back. This happens to me basically every time I swing by my hometown’s Wal-Mart. But instead of running from those boner-killer sideburns, as I would, Isaac accepts Barrett’s offer to watch Olga in what is essentially my dream house of horror.
The art direction here is fabulous. Now, I don’t play video games, but I’ve watched them from the next room as my boyfriend does, and this estate resembles an aesthetic straight out of a Silent Hill or a Resident Evil. I love the drab earth tones and the dreary wallpaper. I’m sure if you peeled it back you’d find some gorgeous mold. To be honest… I want production designer Damian Draven (what a name!) to redecorate my study. He could even throw in some chains, I’m game.
Caveat features two of the raddest horror props I’ve seen in a minute. One being a padlocked, heavy-duty leather harness attached to a long chain that Isaac must wear as part of the job’s “uniform.” A caveat of the gig, if you will. This fundamentally puts Isaac on a leash, only allowing him access to certain areas of the property, for the duration of his stay, adding to the claustrophobic nature of the story. The practical reasoning for this, according to Barrett, is to help ease Olga’s neurotic mind, since the chain prevents Isaac from crossing the threshold into her bedroom, where she holds the key.
The other set piece that I’m obsessed with is Olga’s toy rabbit, which appears to possess an uncanny ability to sense danger—or ward it off, I’m not entirely sure. The rabbit has a small drum, and it beats on the drum with zeal when it perceives an approaching menace. The look of this thing is superb. And the way it functions is terrific. The rabbit has the aura of a creepy old-timey claymation character, one that could haunt the dreams of children for years.
These two simple yet effective visual components speak to the ingenuity of the filmmaker. Damian Mc Carthy invested the coins from his piggy bank in all the right places: one great main location, a half-dozen competent actors, and a small but adept crew. From there, all one needs is a solid story—and the ability to tell it well—which Mc Carthy does. He chooses to move the plot at a deliberate pace that some may consider sluggish, but it feels right to me for this mysterious chamber piece. He also knows when to employ Richard G. Mitchell’s score so it elevates the images without overwhelming them.
Mc Carthy additionally benefits from having versatile department heads at his side. The aforementioned Damian Draven, on top of being a production designer, is a professional graphic artist, too. Likewise, cinematographer Kieran Fitzgerald makes a living as a colorist. So, of course this trifecta of artistry painted an atmospheric portrait of dread; given their united skill sets, they had all the elements covered.
Their contributions meld and lend Caveat a doleful mood that I ate up. It pairs so well with the puzzling air, just like our star Jonathan French. Isaac’s 19th century whale hunter type is perfect for playing the protagonist, since the plot is somewhat enigmatic. I’m gonna need French to lead a nautical creature feature next, please. I want to see him harpoon something—get on it, Damian Mc Carthy! I actually can’t wait to see what the director does next. My curiosity has been piqued.
