Never Abandon Your Problems. Face Them! “Those Who Walk Away” on DVD!
When Max could no longer stomach the sight of his mother falling deeper into severe sickness, he abandons his mother’s side after a year of care. A year-long hiatus from dating has put a temporary halt on his love life, but as he rejoins the socializing game, he connects with Avery on an online dating app. Avery appears to be the perfect girl: smart, witty, and really into him. The start of their first date is a match made in heaven until the girl too good to be true decides to drive him to a supposed haunted house for uninhibited fun when their original plans fall through. Inside, a dilapidated abode comes with an appalling story, surrounding a malevolent urban legend spirit known as Rotcreep. Swallowed by house’s notoriety, Max and Avery grapple with their own personal demons that have come back to haunt them and with no escape, facing the trauma is the only path toward survival.
A lot of films, past and present, are drenched dripping in the trauma theme that the subtopic has become waterlogged in the independent and mainstream scene, but has there ever been a trauma touted full length feature film that was done in one long single take? That’s the novelty concept to proof of product feature from writer-director Robert Rippberger, a documentary filmmaker who has only recently dipped his toes into fictional storytelling. After the 2019 unsung release of “Strive,” an urban drama of perseverance starring Danny Glover (“Predator 2”), Rippberger’s latest “Those Who Walk Away” sets two personal distresses into a prevailing evasion of death. Rippberger’s script, cowritten with Spencer Moleda, materializes one’s own baggage being personified as waking nightmares or a manifestation of shackling malevolence, manacled by past mistakes and centrifugal hurt. The Chillicothe, Illinois shot picture is a production of Ripberger’s own Los Angeles based SIE Films, Argentic Productions, and is in association with Slated Productions and Sandeep Sekhar Films with Rippberger, Sandeep Skehar, and Argentic’s KT Kent producing.
At the center of the story are Max, played by “Twilight” franchise’s Booboo Stewart (no relationship to Kristen Stewart), and Avery, played by Scarlett Sperduto (“Float”), as individuals looking for love or connection having met on a dating app. Necessary lengthy exposition provides the footing for “Those Who Walk Away’s” climatic third act, giving Max and Avery a chance to go to town on their historical credentials during the date as we learn about Max’s ill mother and his sudden departure from her around the clock care before the heartache becomes soul consuming and about Avery’s fight or flight childhood, anecdotal and accounts that are kept closer to her chest, with her close and adored brother. The chemistry is palpable between them with nervous conversational exchanges and teasing jocularity that makes their one long scene seem like an actual first date, completely selling the dynamics with the audience who are induced with anxious butterflies and an eagerness to connect, emotionally and sexually, on Max and Avery’s behalf. The narrative, ultimately, has to change because “Those Who Walk Away” is not a romantic-comedy but rather a dramatic-horror. Whereas everything seemed to go swimmingly with the two young love birds really getting into the moment, we’re suddenly engaged with a different, if not darker, tone that has come out of the swindling shadows and into the light of a dimly lit, ramshackle haunted house that is the premier first date destination experience, if you’re a sociopathic survivor that is. “Those Who Walk Away” works with a tight, small cast that finishes off the list with Grant Morningstar, Devin Keaton, Bryson Whereas, Connor McKinley Griffin, and former professional wrestler, veteran stuntman, and veteran actor of such films as “The Mask,” “Barb Wire,” “Hot Wax Zombies on Wheels” with Nils Allen Stewart, aka The Stomper, as the Rotcreep – again, not related to Kristen Stewart, but is father of lead actor Booboo Stewart.
“Those Who Walk Away” has the concentrated acting chops to pull off the two-pronged plot and despite the obscure and incoherencies with the revelation climax, the turn of events still bids a gripping blank check on what to expect next. Yet, the most interesting portions of the film are not those aspects that do have a degree of excellence for an indie project. Instead, the single long take from opening-to-ending credits is a mind-blowing feat. Unless there’s a seamless cut that I’m missing or blind to, “Those Who Walk Away” never edits or cuts away from the action that puts the actors in a position of having to perform to perfection. Rippberger also doesn’t remain stationary to a single location for the first half of the film, coursing through the populated public park and bustling small town of Chillicothe during Max and Avery’s getting-to-know-you talk-and-walk, and as the story evolves toward more sinister circumstances in a one house setting, Rippberger can’t sit still and uses nearly every square inch of the creepy, boarded up house to his advantage, creating and changing up room interiors that fashion an illusionary creepy funhouse that Max scrambles from room-to-room avoiding Rotcreep and finding a way out of what could be perceived as Hell in a house, a metaphor for Max’s own mother-abandoning torment. If that isn’t impressive enough, Diego Cordero’s camera handling to make the single take work isn’t bush league cinematography as having the frame trajectory move in tight, confined spaces without a bit of awkwardness, like moving from outside the car to inside the front of the cab then to the back between the driver and passenger seat while keeping characters in frame and keeping the characters acting is a tough, planned shot. What’s also tough is achieving crisp dialogue in one take and that’s where the film falters a little with the pivotal exposition losing strength and clarity where it’s needed the most, essentially being muddled instead of meticulously articulate if actors are either not vigorously vocal enough, mic placement isn’t exact, or mic picks up other noises that scuttle overtop the dialogue.
Courtesy of VMI Releasing and MVD Visual comes a chilling crucible in “Those Who Walk Away” on DVD. Presented in 720p on a widescreen 1.78:1 aspect ratio, the film is distributed on a DVD5 with a reasonable compression rate to keep the image sharp without a lot of addition fluff to bog down the overall compacted digital transfer. Instances of off and on lens focus works against the long take, much like the audio, where timely is key but as far as VMI Releasing’s handling of the storage, the resolution and image quality do the work to represent the best quality possible. Although the DVD back cover states one audio option – an English Dolby Digital 5.1 – there is a second option with a English Dolby Digital 2.0 Stereo. Unless you’re setup with a surround sound, the stereo option will have identical dialogue and ambience noise but there is an amplified finish on the soundtrack by video game composer Dmitrii Miachin with the drawn out violins and a brooding, sonorous pitch. Dialogue is a minorly muddle as mentioned before with the tribulations on a feature length shot but mostly clean and clear to the point of satisfaction. Aside from the static menu’s original trailer for the film, and the illustratively ghoulish opening sequence, the DVD comes with no other bonus material. The DVD comes in a standard DVD tall case with a front cover of a bloodied Booboo Steward looking dazed walking through fire and the same image is used for the disc art. Psychologically scything, “Those Who Walk Away’s” fillets guilt from the bone with scene shooting originality and a cast that nails every second lapse.
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