I love all kinds of horror movies. I know people scoff at shocking horror or ones that are really gory, but if they're done well, they can be fun too. That said, lately I'm leaning toward stories about the external manifestation of someone's innermost apprehensions or desires, rather than stories about something external that supposedly instills fear. For example, I would appreciate a well-made creature feature where said creature runs completely haywire. But there will always be a sense of detachment because, deep down, I know such a thing can't exist in real life.
Now, if there's a disturbing entity that can only be perceived by the protagonist—as a representation of that individual's unresolved trauma or guilt—then you scare me even after the end credits roll. That's because it leaves me feeling like, well, this could happen to me. Since Control Freak is the latter, believe me when I say that it legitimately gave me nightmares. Shal Ngo's Control Freak tells the story of Val, a motivational speaker who is supposed to go on a world tour, but faces a setback when the Chinese authorities want to see her birth certificate before letting her in.
Val visits Aunt Thuy to see if she has any of her old things, and she reveals that they are in her father's possession. Val's mother died long ago in a boating accident, and because Val believes her father, Sang, killed her, they have an estranged relationship. Their strained bond is further exacerbated by the fact that Sang has become a monk, something Val interprets as her father evading responsibility for his actions. Anyway, after a disturbing encounter with her father, where he implies that her family is haunted by a mythical entity, Val obtains the necessary documents. However, this only ends up opening the Pandora's box that Val had been dealing with simply by scratching a phantom itch on her head. As her mental state worsens, Val's professional image and her relationship with her partner, Robbie, reach a critical point.
On its face, Control Freak is a critique of the profession of motivational speakers. It asks viewers, especially those who idolize those who "teach how to live," who they depend on for guidance on something as unpredictable as life. In other words, these modern sages (like the ancient ones) are flesh and blood like us. They probably face the same complications we do. And they've likely become highly skilled at hiding their flaws to pretend to the world that they've overcome all their fears and shortcomings. So why should we allow them to profit from their lies? Digging a little deeper, it's about family and the kind of burden a parent can impose on a child, thus preventing them from starting a family of their own, even if they truly desire it. After that, if you dig a little deeper into the narrative, it's about the horrors of the Vietnam War and how its repercussions are felt to this day, even though you're as far removed from that page of history as possible.
That description of Control Freak might make it sound like one of those psychological horror thrillers where everything is so subtle that you'll miss the terrifying parts if you blink at the wrong moment. Yeah, no, this isn't that kind of movie. Shal Ngo and his team have created a sleep-paralyzing demon that looks like a cross between Cthulhu, the Demogorgon, and the Xenomorph, and it will undoubtedly keep you up at night. There are enough grotesque and nerve-wracking body horror moments to make you gag. I consider myself immune to the twisted aspects of "movie magic." But watching Val scratch an itch all the way to the skull almost made me throw up. Landon Knoblock and Jay Wadley's music, Scott Siracusano's photography, Dagmawi Abebe's editing, visual effects, special effects, and sound design are all superb. Ngo's handling of tone, alternating between the somber and the morbid, is brilliant. The film's main problem is its pacing. As it approached the hour mark, I thought it had reached its climax, but there was still a lot of film left. I think Val's fall, recovery, descent into madness, and triumph could have been handled more concisely. However, that's a matter of personal taste.
As for the acting, Control Freak is a true Kelly Marie Tran-esque extravaganza, and I'm here to support her. Unless you're not a Star Wars fan, you know what happened during and after the sequel trilogy. Although Tran wasn't part of the main cast, she suffered inordinate levels of racism and online harassment.
Control Freak has its flaws, but the fact that I think of it every time I scratch my head makes it a truly effective horror film. It's not for the faint of heart, and I think you have to be patient with it. If you meet both requirements, the film will drive you crazy. As I mentioned, Kelly Marie Tran is fantastic, and like any other horror actress, I'm sure she won't get the attention and love she deserves. So, if you can, do what awards ceremonies should have done for the horror genre over the past few decades: appreciate the cast. It's crucial that The Substance has received so much attention, but I think films like Control Freak, Bonesera: The Bone Woman, Prevenge, Saint Maud, Cam, Relic, Impetigore, and Stopmotion should also receive a lot of attention from the general public. Yes, these are all recommendations; see them as soon as possible. Plus, since there's an animated cameo by Mr. Crocket in Control Freak (do these Hulu movies exist in the same universe?), you might as well give it a try.
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