AJ Bowen

Shadows abound, pierced with swaths of light cut to ribbons by venetian blinds. Odd, angular futurist architecture juts into the sky, illuminated by spotlights from passing flying vehicles. There are fans slowly rotating everywhere. This is the future, after all. There must be fans. If nothing else, Synchronicity cuts an interesting shape, a quasi-dystopian future that seems devoid of affection, warmth. Taken purely on visuals, Synchronicity is top-notch. The problem, then, lies in storytelling.

In Ti West’s The House of the Devil, an earnest college student tries to get rent together by taking on a last minute babysitting job. Samantha (Jocelin Donahue of The Burrowers and The End of Love) willfully ignores the inherent danger in going out to a remote house to provide care for complete strangers. Her clients are incredibly desperate for help but the promise of fast cash is far too enticing for the young woman. Samantha’s job provides a quiet, creeping evil that makes the audience hold its collective breath for a protracted time before the action kicks in. It’s effective in sustaining a lasting dread of harm of the unknown and accomplishes what most movies associated with the Devil fail to do- convince us that followers of Satan and their ultimate goal are a genuine threat without edging into cheesy or overwrought territory that is well-worn.