The most vulnerable are being chained to chairs and tortured by the terrifying weight of their own extreme phobias until their bodies can no longer take the stress, fatally collapsing where they sit due to heart failure. Homicide detective Riley Sanders notices frightening similarities to her own abduction months earlier where the kidnapper tortures the stunned detective with an intense light on repeater. Refusing to believe her abduction and the case she’s investigating are linked, her partner, Paul Carr, continues to insist that her traumatic experience might be key to solving the homicides and finding the killer. As the detectives dig deeper into a radical psychiatrist’s phobia program whose patients are showing up the killer’s victim list, they find themselves at the center of a disturbing experiment that aims unleash an inner, and only ever theorized, phenomenal ability.
Bryce Clark’s psychological cop thriller, “Phobic,” tales an irregular and irrational serial killer objective derivative of David Fincher’s “Seven” twisted quietly with elements from the superhero universe. Darkly toned exploitation of forcing the worst of the worst fears upon the those already cripple down by their distinct aversion, the 2017 shot “Phobic” marks the return of a Clark written and directed full length feature since the filmmaker’s 2012 debut in both categories with a romantic-comedy starring Mischa Barton. Both polar opposite films were shot on location in Salt Lake City, Utah, Clark’s residential city, surrounded by picturesque ice capped mountains overlooking the illuminated, pedestrian-saturated metropolitan area home to the story’s wicked psychotronic experiment that literally frightens people to death. “Phobic’ is a production of Storylab and Pale Moon Entertainment.
Two detectives continue to peel back the arcane layers of the unusual case before them with detective Riley Sanders at the heart of the matter being linked to the recent string of methodical abductions tailored specifically with the victim. “Looking Glass” actress Jacque Gray dichotomizes Riley not only as a persistent investigator eager to bring this case to an end but also as a struggling closeted neurotic with her own fears that bleed through the celluloid. Clark makes sure to underscore Riley’s nightly routine before going to bed with her constantly turning on and off lights in her path to represent a lingering but indeterminate phobia response. Riley is supposed to be this tough, but law abiding cop, who survived a harrowing ordeal, but Gray hardly expresses Riley’s scarred rigid soul, representing more so in the lines of coloring her disposition by the numbers that refuse to waiver outside normalcy. Devin Liljenquist is even more so vanilla as Riley’s partner, Paul. As his introductory feature film, Liljenquist’s doesn’t carry the range of a cop who cares, topping out with a straight-faced sleepwalk that challenges the stakes and can be considerably creepy, like subtly sexual grooming predator, when Paul is trying to convince Riley to open her fears with him. The character audiences deserved, or better suited as Riley’s partner to provide contrast, would have been the third scarcely screened detective on the case that occasionally popped in as the first investigator on scene of a crime in Alex Nibley’s Detective Hank Ferry. The slightly elder detective, complete with Nibley’s stark white, Anderson Cooper hairstyle, had a quick, dark wit and cavalier presence about him that breached the Riley and Paul uncharismatic stiffness with a relieving change of pace dynamics between colleagues. You couldn’t wait to see Detective Ferry to make a reappearance, but sadly, his character is sorely underutilized for only a couple of moments. “Phobic’s” in-and-out supporting cast includes James Jamison, Tiffani DiGregorio, Fred Spencer, and Ernie Lively as Riley Sanders secret-keeping father.
“Phobic” follows a basic detective thriller in tracking down a homicidal maniac with a niche kill tactic that bread crumbs one of the investigating officers into being subverted by a conflict of interest stemmed from her past. However, out of Salt Lake City’s blue skies, Clark suddenly pivots in his script, diverting from a dark, gritty Finchian narrative to an acutely forged new shape of revival and hope, a shape that bares no cape, no mask, or no bald, psychic power yielding man bound to a wheelchair playing headmaster of a school that serves as a façade for an elite team of powerful, do good mutants. If my hint wasn’t overly blunt, let me be utterly clear, “Phobic” has no distinct x-factor but goes from fears to fight with the psychotronic theory where energy and strength derive from stress and fear over the witnessing the impending doom of a loved one. Urban legend surrounding the notion of hysterical strength siphons away the psychosomatic element from the grooves of the cop thriller and Clark copiously throws in crucial red herrings to keep viewers muddling and not Professor X cerebral filling in the gaps unraveling an unlikely and unrealistic prospect of superhuman truth, but “Phobic’s” off-the-cuff pivot is a quick to squander all that’s been built in what’s essentially Bryce Clark’s house of cards to discombobulate an audience with polarizing story principles, rebranding an assayed horror-thriller into rabid conceit.
Easily one of the most idiosyncratic and unanticipated films of 2020, “Phobic” induced fear into audiences panic-stricken hearts this past December 15th onto multiple digital platforms courtesy of Samuel Goldwyn Films, the distributor that brought you “Daniel Isn’t Real” and “Pet.” Brandon Christensen’s tenebrous cinematography is shot on a 6k red epic dragon with ultra definition displaying full range of details in every scene and despite the somber tones created by a slew of gaffer up lighting, we get some really rich natural coloring, even in the baby blue eyes of Ernie Lively, when Christensen isn’t blue or red tinting the lens to underscore the killer’s aftermath crime scene. While the cinematography is good, the editing can be pestilent expression of style to represent Riley’s sporadic and continuous reliving of a reoccurring memory. The stock score is just that set on autoplay for nearly the length of the 81 minute runtime with engineered eruptions in the pitch to denote the jump scares. There were no bonus features included with the digital screener nor were there any bonus scenes during or after the credits. The bland acting hurts “Phobic’s” exploration of the psychological symbiotic energies between that of the mind and body, but the film boils down to have a fascinating perspective on the detective thriller by reshaping the surface with bold expectations of an uncharacteristic, dormant fear free all.