To the Moon is a trippy, psychological thriller unraveling the tangled threads of addiction and family. After a young couple’s vacation is crashed by the arrival of estranged relative Roger (Will Brill), horror ensues. Written and directed by Scott Friend, this film paints an unnerving picture of the dysfunction and disjointed life of couple Dennis (Scott Friend) and Mia (Madeleine Morgenweck), and all the loss, hurt, trauma, and fear that fill a relationship. To the Moon is a solid debut feature film from Friend.
Each scene in To the Moon is filled with an awkward tension that you could cut through with a knife. Like ill-fitting clothes, or a cake that’s the wrong flavor, there is intentionality in its creation and omnipresence. The film is successful in depicting what appears to be the latest in a string of withdrawals in actor/addict Dennis’ recovery. The horror is subtle throughout the film. It is not in mysterious, red-robed cult members that watch him from the woods, or psychedelic berries, or even necessarily in the sudden appearance of his brother. Rather, the horror exists in his own mind that is presently in withdrawal, what might feel like an unending future of relapsing again and again, and in the potential that his family has created a series of subtle machinations to ensure that this will be his last attempt at recovering, for better or worse. Simultaneously, Mia, too, experiences horror in loss — the loss of her job, a baby, ability to trust, and her partner— and in what might be found — her partner, her faith, and what lengths she will go to.
Will Brill as Roger is the standout actor of this film. He does a great job in infusing unease into the film as well. His mannerisms, movements, and dialogue all fill you with dread, unsure of what he might do next even in moments where no fear should rationally exist. Friend and Morgenweck’s performances sometimes feel tied down by slightly over-caricturized writing, but are compelling enough to keep the film going.
The film is solid in its sound design, set design, and prop use — not spectacular, but adequately refined. The cabin feels wonderfully whole and lived-in all on its own, the set dressing contrasting beautifully with the people occupying it, thus making it feel too full. White-powdered poison, used to trap and kill beavers, looks so reminiscent of cocaine that you might even worry for a second that the tiny pouch of it that Roger gave to Dennis is actually filled with this more literal poison. The rhythmic tap-tapping of a leaky faucet sounds like the frantic pounding of a heart and seamlessly blends into the soundtrack. A peach moonstone pyramid to help Mia feel balanced becomes a weapon to be wielded in the name of such. The costuming also deserves recognition — particularly Roger’s yellow, denim jumpsuit and cowboy boots.
But To the Moon falls short in its pacing. The first two-thirds of the film are a methodical unraveling… slow and steady. The final act feels rushed in contrast and the resolutions to individual character arcs and the overall plot are undeserved. What was rich in both dimensionality and intentionality becomes one dimensional and cheap. We are left with a final trick shot meant to leave the audience guessing if the events over the course of the film actually happened or not, strip mining away all meaning that might have previously been built over the course of the film. Ultimately, this abrupt ending lets To the Moon down.
To the Moon might not wow you, but there’s room to grow here, certainly. Friend’s first feature film has heart and potential, and that’s what counts for a debut.
