Dawning

There seems to be 2 favorable reviews of this film which I find very hard to believe. Rest assured that the 2 reviews were given by the same person. The movie tried very hard. The director really gave a go at an artsy type of horror film. Much in the way of films such as AntiChrist or evening The Shining. The problem was that the director didn't have any directions.(Imagine that). The only bonus to the film was I thought the girl in it was pretty hot and could possibly go somewhere with her acting I guess. The score was pretty much stolen from a hundred other movies which bothered me. To the director and writer. Yes it is fine to be vague with who or what your antagonist is. If done correctly you can add suspense to a film. But not so freaking vague that after the people watching and thinking, well that explained nothing and wasted my time.

Whether true or not, 'Dawning' quickly gives the impression of being very indie and very low-budget. This is apparent enough just in considering the most prominent names involved in the production - of them all, only two have any significant number of credits. Gratifyingly, I've seen Christine Kellog-Darrin before, and very much enjoyed her work; I'm a bit more familiar still with Najarra Townsed - I like her so much, it was Townsend's involvement that drew me in. The collective lack of renown among cast and crew is the least of the tells here, however. The direction feels unpracticed to the point of weakness, and the writing, too - and the combination of these means a distinct feeling of artifice. Knowing that at least two of the assembled actors are very skilled, I assume it's the latter that coerces all into portrayals that struggle to seem authentic, especially when the uneven pacing languishes in quiet moments.

Notable, unfortunate deficiencies aside, though, I think there are some really great ideas here. 'Dawning' is the story of a direly awkward family reunion of sorts, wherein each passing scene reveals ever greater fractures in the ties that bind. These clefts are deepened as the gathering at a remote cabin is faced with extraordinary circumstances, and the uncertain threat of something dangerous imposing on them. It's a great premise. In addition to that of the overall narrative, I like the core concept of the dialogue, and the scene writing, and even the characterizations. But the actual execution - the construction of detail in writing and direction that would fill out each of these aspects - is pointedly lacking. Whether the flaws can be chalked up to inexperience, lack of ability, forced shortcuts, or something else is up for debate. The definite result, however, is a feature that misses the mark.

With about 16 minutes left we get an instance of overblown delivery that almost spoils the entirety of what value the film has to offer. Moreover, the nature of the goings-on is left terribly amorphous, furthering the overarching notion of ham-handed contrivance. But what's truly disappointing is that it didn't have to be this way. With more thoughtful care in writing and direction, 'Dawning' could have tapped into fantastic potential. Why, unexplained phenomenon underlying the premise, and the somewhat staggered presentation - pacing, delivery, half-hearted sound design, subtle background music - almost give the notion that the screenplay was actually adapted from the draft of an intended stage play, in which lack of special effects would demand much be left to suggestion and imagination. But still the same faults remain.

I'm placing a lot of the onus on director Gregg Holtgrewe and co-writer Matthew Wilkins, it's true. I don't mean to wholly disparage either; I'd like to think that they've grown in their capabilities in the years since, and do more to impress me now. But professional development doesn't come without critique, and once more - I regret to say it's their specific contributions behind the camera and holding the pen that do the most to undercut the possibilities of this movie. I think it's a strong idea, with further strengths folded in, that in 2009 they simply lacked the wherewithal to bring to utmost fruition. With that said - I think 'Dawning,' in total, is perfectly average, stuck in the middle between low and high quality. Yet while I acknowledge bias, I'm inclined to believe Najarra Townsend's acting is of such caliber that her skills peek through the indelicacies of film-making and story-telling to elevate the picture a hair above unmoving neutral ground. It's a small boost, but it's enough.

I don't think I could argue with any viewer offering a more harsh assessment; to be sure, this is a very rough ride. I see the diamond in that rough, though, that at the time it seems no one was able to wholly unearth. There's no reason to go out of your way to watch this, and keep your expectations mild if you do, as 'Dawning' is an unlucky illustration of how flimsy direction and flimsy writing can hamper a production. Still, I like it more than I don't. Take that as you will.

Okay-ish effort for a no-budget digital feature with some fair performances by a pretty good cast for a film of this size.

My biggest problem with the film is the fact that it treads no new ground. There was some potential here - some genuine suspense but the ending is nothing more than a yawn inducing been there done that sort of affair.

The director clearly has some flair and creates some decent chills. I've read some reviews bemoaning the budget of the film which personally I think is a BS cop-out for lazy scriptwriting.

Having no budget is no excuse for bad writing. Can anyone say EVIL DEAD!!??? This is where the film falls a little flat is in it's scripting - the characters are well drawn and you do give a damn but the interest level fades quickly as the film makes it's way to it's all too lame denouement.

Terrible movie. It was neither scary nor interesting. I found myself getting irritated because it went nowhere. The movie had no direction. Dumbest ending ever

Takes place at a Northern Minnesota lake cabin where a brother and sister visit their father and step-mom. As the first night unfolds with uncomfortable small-talk and tension, tragedy strikes.

The film itself is not bad. The concept is quite strong -- a family, already tense, is put on edge by a stranger who may be a crazy killer or my be trying to save them from something even worse. The choice to not show the something even worse actually made the film stronger (was this for budget reasons or simply to allow for our imaginations to run wild?).

I have to give it some personal respect for being shot in Hayward, Wisconsin. Being a 30-year Wisconsin native, I always enjoy seeing our state get some film time. We have had our share of good films shot here, but there is always room for more. While this is not the greatest film, it is still welcome.

My problem with the film was the hackneyed dialogue. The acting was not bad, but the lines were cheesy. What really turned me off was the son telling the dad, "Yeah, walk away. You're really good at that." That line is so cheesy, so unrealistic and cliché. I just cannot see a son really saying that to his dad.

Beyond that, any real problems were budget issues. This same script given to a production company with a million or two to throw around and we would have a successful feature. I hate to knock a film for its budget, but in this case I have to. I have seen more done with less, but here the shortfalls were just too apparent.

You might still wish to give the film a chance. Maybe I was just feeling critical the day I watched it. Many others have loved it and the director, Gregg Holtgrewe, has received a fair amount of praise. And, personally, Gregg is a really nice guy, so I feel his work deserves a fair shake. Best horror film you see this year? No. But still decent -- something like "Evil Dead" meets "Feast", with an Ingmar Bergman influence.