Elric Kane’s directorial debut explores the horrors of modern dating and the violent obsessiveness born out of our need to be constantly connected.

What troubles us almost as much as the fear of death is the fear of being alone in life. We long for connection, both physical and emotional, but our modern landscape has evolved in a way that has completely disrupted when, where, and how we make those connections. We yearn for meet-cutes in grocery aisles and coffee shops but are doomed to pitch ourselves to strangers on dating apps. As Valentine’s Day approaches, the horrific prospect of diving into digital murky waters to make matches in hopes of not being alone on this revered Hallmark holiday is being tapped into by Elric Kane’s late night crawl through LA in The Dead Thing. 

Alex (Blu Hunt) is numb to the world around her. Although her existence seems tied to the dead of night, often stumbling into bed after working late hours, she is constantly illuminated by the glow of her phone screen as she endlessly swipes through dating apps. We quickly get a feel for the life she is living as she jumps from one date to the next in a constant circulation of faceless hookups. It is not until 10 minutes into the film that she utters a single word–not until she meets up with Kyle (Ben Smith-Petersen). Their chemistry is instantaneous and something about this guy allows her to open up about her discontent with the way she drones through life. One thing leads to another and they spend the entire night together, sharing art and music and all these little pieces of themselves that they have been keeping locked away.

As the sun rises and sets, time continues on and they must part ways. Feeling a spark of electricity ignited within her by this connection with Kyle, Alex finally seems excited to live life again which is communicated effortlessly through the subtle physicality of Hunt’s performance. This breath of vitality is short-lived, however, when Kyle “ghosts” her and seemingly falls off the face of the Earth. The whiplash Alex experiences from romantic euphoria to rejection sends her back into a downward spiral and the deficit left by something she did not know she needed or wanted is too difficult for her to ignore. However, once the two reconnect, we are warned to be careful what we wish for as their relationship quickly turns obsessive and Alex gets lost in Kyle’s grip. 

The Dead Thing is more than just a noir-style thriller, but a supernatural story that plays with existential crises as well as a hodgepodge of emotional complications that come from our modern world. The conventionally horrific moments are anchored in the paranormal elements of the story but because these are under-explored, or rather largely unexplained, the emotional weight of the film remains tied to the deeply human experiences it reckons with. Alex is clearly struggling to find meaning in her life–work is unsatisfying, her only friendship is strained, and she continues to live in limbo. When you have lost yourself and allow yourself to be content with moving through the world as a hollow shell of the person you once were, it becomes easy for others to fill themselves into that empty space and usurp any chance of reclaiming your lost identities. Kane’s script, co-written by Webb Wilcoxen, shows a deep understanding of these vulnerabilities and takes extreme care to not pass judgement on Alex–a claim I believe to be supported by the copy of House of Psychotic Women by Kier-La Janisse sitting on Alex’s nightstand as a way to clue us into the cinematic lineage of this film. 

At one point or another, we have all felt a little dead inside and have yearned for someone to waltz into our world and help us feel alive again. Its horror is subtle and its pacing is sluggish at times, but it is an engaging nighttime stroll through the streets of LA that will continue to surprise those who are willing to swipe right. For everyone who knows what it is like to feel helplessly alone, Hunt and Smith-Petersen are a charming duo that audiences should spend their night with this Valentine’s Day.  

Grade: B+

Oscar Prospects:
Likely: None
Should be Considered: None

Where to Watch: Shudder