Like many comedians, Joe Lo Truglio is also a horror fan. The works of Stephen King were a key influence growing up. Now, in-between acting gigs, Lo Truglio has been attempting to make his own horror films. Outpost (available via digital platforms on May 19th) is the first to finally make its way to our screens. Clearly a labor of love, Lo Truglio produced, wrote, and directed the film. I’ve always enjoyed his often quirky performances, so let’s take a look at his filmmaking.
Lo Truglio’s real-life wife, Beth Dover, is Kate, a woman who has experienced multiple horrific traumas at the hands of men. As a child, her sleazy uncle sexually abused her, and more recently she was nearly killed by her psycho boyfriend. In an attempt to heal, she volunteers to be a lookout at a fire watch tower in a remote wilderness in Idaho. Unfortunately, the solitude isn’t as refreshing as she’d hoped. We also get Ato Essandoh as Kate’s troubled superior, Dallas Roberts as an opinionated fellow ranger, Becky Ann Baker as a wise hiker, Ta’Rea Campbell as Kate’s best friend, and the great Dylan Baker as Kate’s crotchety closest neighbor on the mountain.
The script for Outpost is essentially structured into four parts. The prolog sets up the premise and all of our characters. The film then progresses through Kate’s three months on the mountain, which are denoted onscreen like chapter breaks. Lo Truglio treats the heavy subject matter with respect while keeping his feet firmly planted in the realm of the thriller genre for most of the 84-minute runtime. The final act, though, shifts gears into full-on horror. The tonal change isn’t seamless but is nevertheless compelling. This abruptness helps propel the narrative to its bloody conclusion. I’m guessing that the final act will make or break the film for most folks. Character work is well done with all of the main players getting at least a few small moments to shine.
Speaking of players, the cast is excellent. Dover garners our sympathies but never comes across as weak. Her character has a large and difficult arc and she nails it. Mental distress can be tricky to portray, but she never goes over the top. Essandoh gives a quiet performance as a man concealing many difficulties. The always-welcome Dylan Baker provides some flavor with a temperamental and possibly sinister turn.
A major strength of the film is Frank Barrera’s cinematography. Compositions are thoughtful and assured. The location shooting is absolutely gorgeous and instrumental to the success of the narrative. We immediately understand the isolation Kate feels as the backdrop to her story is both glorious and forbidding. The tower/platform set is also an asset, furthering the authenticity of the experience. I appreciated the efforts to align us with Kate’s mental state with many uncomfortable lingering shots and also the terrifying jumbled flashback sequences. There’s a conscious effort here to bring some style to the visuals and I will always appreciate that.
Just a few more quick thoughts. Steph Copeland’s score is enjoyable and Lo Truglio wisely doesn’t just relegate it to the background. Yang Hua Hu’s editing is a virtue, emphasizing clear storytelling but assisting in creating mood with the arrestingly violent flashbacks. The scant instances of gore are enough to disturb without crossing over into repulsive territory.
In his feature debut, Joe Lo Truglio delivered a complete and competently crafted picture in Outpost. Viewers may see the final act changeup coming, but they’ll either roll with it or they won’t. I found the last thirty-ish minutes so entertaining that I didn’t care whether it was realistic. It’s clear the budding filmmaker understands genre storytelling and I’m very interested in seeing what he does next. Recommended for fans of The Shining, Ms. 45, and Men.
Michael Cavender