In short: Sleep No More (2018)

Warning: I’m going to spoil the film’s single (good) idea!

After a research project to “cure sleep” with some magical drug ends with the death of one of its subjects via eye mutilation and suicide, the medical – or pharmaceutical, the script neither tells nor has probably thought about it – researcher responsible (Yasmine Aker) convinces her grad students (Brea Grant, Keli Price, Stephen Ellis, and Christine Dwyer) to continue the experiment on a long weekend. After all, once they have reached 200 hours without sleep, they will reach a state of lucidity and will be feted as heroes of humanity everywhere, right? Of course, everyone involved quickly develops horrible hallucination, and starts to see a foggy CGI monster, while also suffering from various other psychological problems you might imagine to occur with drug-induced sleep deprivation.

There is, by the way, no connection to L.T.C. Rolt here, if you were asking yourself that. I rather enjoyed director Phillip Guzman’s previous film, Dead Awake, and I sort of dig the sleep themed horror thing he has going on, but the film at hand is pretty atrocious. It’s not so much Guzman’s direction – though the decision to show a CGI monster this crappy quite this often, as well as how the tonal shifts in the acting present don’t do the film any favours either and are certainly in the purview of the director’s job – but rather a script that gets basically nothing right apart from the cool, old school fantastika idea of dream-eating monsters living in symbiotic relationship with humanity until a couple of idiots decide to “cure sleep”.

The characterisation is broad and empty where depth and detail are needed for the story to have any effect on its viewers, and the tone shifts between awkward comedy and supposedly deadly serious horror at a moment’s notice. The actors seem to have been left without any guidance, so only Aker – who doesn’t have to go through these shifts – and eternal pro Grant actually seem to have any kind of grip on their respective characters. The rest of the cast wobbles and stumbles through the series of disconnected moments that goes for a plot here. The film’s basic problem is the complete absence of actual definition in characters and world, which is rather a heavy lack in a film all about horror based on the psychology and perceptions of its characters.

For some reason, this is also set in the 80s, so these aren’t just unconvincing characters, but also ones dressed up in “period” costumes who look exactly like that – costumed.


That Sleep No More’s idea of how medical research works, what a control group is and what it is there for, and so on, and so forth, has little base in even the most cursory research made by the writers seems to be par for the course for this sort of thing; that most of its deviations from reality – which make Flatliners look scientific – aren’t even useful in building drama, adds insult to injury.

Dead Awake (2016)

Having gone through various drug and related mental issues, Kate Bowman (Jocelin Donahue) seems to have come to grips with life again. Or rather, she would have, if not for the onset of a severe case of sleep paralysis. Kate experiences it every night, with the added bonus of hallucinations (or are they?) of a standard hag-style apparition crawling onto her chest to suffocate her. Which, one night, she indeed does, supposedly from an asthma attack; too bad she didn’t suffer from asthma. Her twin sister Beth (also Jocelin Donahue) feels there’s something wrong with what happened to Kate beyond the tragedy of an early death. For one, she had a dream of her sister being suffocated in her sleep at the exact moment when that actually happened.

Then, Beth and some of her sister’s friends begin to suffer from sleep paralysis with the exact same non-hallucinations, too, so it becomes rather difficult for anyone not to believe there’s something more supernatural going on than the (not terribly) scientific explanations Kate’s former physician, Dr. Sykes (Lori Petty) delivers. As a matter of fact, without anyone else knowing, Kate had been seeking help from disgraced sleep scientist Dr. Hassan Davies (Jesse Borrego). Davies is convinced that there’s a long-standing epidemic of people actually dying of sleep paralysis, and he’s also convinced that what they see in their hallucinations is a real entity trying to kill them. Beth and Kate’s boyfriend Evan (Jesse Bradford) – who will also suffer from his own bit of magic sleep paralysis soon – just might be better off following that angle, if they want to survive.

Dead Awake is a bit of a mixed bag: the script by Jeffrey Reddick (creator of the original concept and story of Final Destination, among other things) contains some wonderful ideas, and interesting characters but the pacing seems off, sequences of tension are followed by scenes that seem to have no actual reason to be in the movie at all, and the supernatural threat stays vague rather than ambiguous. Phillip Guzman’s direction certainly doesn’t help the viewer over the script bumps. While there’s certainly nothing terribly wrong with it, the scenes of horror are rather on the generic side, only quite late in the game really using concepts of dream and sleep in any interesting ways and even then not doing much that’s visually distinguished or moody. Visually, it’s a pretty bland film, dominated by shots and set-ups that certainly do their basic jobs in the plot well enough but only seldom create a world for the audience to believe in or do much for the creepiness factor.

There’s good stuff in here too: Jocelin Donahue is good as Beth and Kate) as I by now expect her to be. Dead Awake gives her a character arc from guilt to acceptance to anger (that’s sometimes the more productive sequence) to hag-butt kicking that feels perfectly appropriate and perfectly human, and is certainly one of the real successes of the film. I also liked quite a few of the small clever details: for example how exactly the belief in the supernatural threat is what kills its victims yet also – of course – the prerequisite to beat it; or how awkward and half-crazed Davies is as what could be the film’s Van Helsing figure without turning him into a joke. The finale is also rather effective when it brings an internal struggle to life.


So, while I don’t think Dead Awake is terribly successful as a whole, I did find enough of interest in it to make it worth watching. At the very least, it tries its damndest to do something interesting. And hey, that’s certainly more than I’d say about The Conjuring.