There’s just something about watching micro-budget pictures that are clearly labors of love. Writer/director Levi Austin Morris’ Paralysis fits that description to the T. As I watched the end credits roll, several names popped up over and over. Chief among them was Morris himself, who in addition to his aforementioned duties is also listed as an associate producer, co-cinematographer, and editor, while also showing up in a few other spots like the art department. Oh, and he also has a large supporting role in front of the camera. So, the filmmaker’s passion is indisputable, but how does that translate to what shows up on screen?
Allison Lobel is our lead, the troubled Haley Stone. Plagued by terrifying episodes of sleep paralysis at night and traumatic memories during the day, the line between what’s real and what’s not is becoming increasingly blurred. Her brother Nicky (Morris) provides comfort at first, but it’s not long before we find out that all is not as it seems with the exuberant artist. Memories, dreams, hallucinations, and possibly even supernatural events swirl around Haley leaving us just as unsure of what’s going on as the struggling young woman. Desperate for a solution, Haley reaches out to paranormal investigator Annisa Bradley (Lisagaye Tomlinson). Together, they confront the specters of Haley’s past and present.
Morris’ script is pretty tight. Though he expends effort in keeping us in the dark at first, the various strands of the narrative’s themes eventually wind together for a satisfying conclusion that is unambiguous. Character work isn’t intricate, but distinctive personalities do ring through. I would be surprised if Morris didn’t have a background in the theater, as some sequences have that stage element to them. Dialog is mostly naturalistic and works to explore motifs about grief, past traumas, and ultimately healing while still moving the story forward. Altogether, it’s assured work even if it covers some ground you might have seen before.
Performances are all solid. Lobel is asked to carry the film for the relatively longish runtime of 108 minutes and comes through admirably. The quiet panic and terror on her face during the sleep paralysis episodes in particular go a long way toward endearing her to us while ensuring that we buy into her character’s journey. She also effectively avoids falling into a stereotypical portrayal of mental illness. Morris is warm and relatable while harboring the key to unlocking the plot’s mysteries. Tomlinson exudes confidence and acts as a nice counterpoint to Lobel’s confusion. Bethany Koulias and Emerson Gregori are both creepy as hell in smaller roles.
Without a doubt, the film’s strongest aspect is Morris and Gregori’s adept camerawork. Via careful framing and spatial awareness, the pair is able to wring an amazing amount of tension out of the story. We never know what we’re going to get around corners and behind closed doors. I found myself clenched up on the edge of my seat on multiple occasions. Jump scares abound but they arise out of the visuals and editing more than loud stingers on the soundtrack. However, the sound design is highly effective and I especially appreciated the weird creaking and crackling that accompanied the freakier members of the cast. In any case, it’s obvious that a lot of thought was put into the imagery and while it’s not a flashy picture, there is a certain amount of style present.
I don’t want to give anything away about the narrative that should remain concealed, but I do want to mention that I found the creature makeup to be cool and unsettling. Considering the probably tiny budget, Morris and company make a little go a long way.
Look, Levi Austin Morris’ Paralysis isn’t a perfect film. The general plot might remind you of a few popular big-budget chillers and there are a couple of unpolished moments where, for example, the camera is jostled by something happening in a scene, but the film’s rock-solid realization still struck me. The overall impression left by the experience is that it is the result of young but talented artists and not amateurs. I definitely expect to see everyone involved in larger projects in the future. Recommended for fans of larger budgeted flicks like Paranormal Activity and Insidious, as well as one of my favorite micro-budget films, Beyond Dream’s Door. Paralysis is currently making the festival circuit rounds, but I expect it to show up on streaming and VOD platforms soon.
Michael Cavender