Year: 2016
Director(s): Andre Ovredal
Writer(s): Andre Ovredal
Region of Origin: US
Rating: Unrated
Digital, Color, 99 mins
Synopsis: Two coroners (father and son) try to solve the mystery of an inexplicable body before its too late. (Source)
The Autopsy of Jane Doe is the kind of horror film that mainstream Hollywood hasn’t had the guts to make in a long time, a rare type of aggressive ghost story that has the emotional complexity to back up its scares. Andre Ovredal’s latest is tight and focused, first and foremost delivering a story about the bond between a father and his son, but wrapped within a truly evil mystery. The tension never lets up, and nothing is wasted, with stars Brian Cox and Emile Hirsch turning in two great performances. For horror veterans who’ve seen it all, the film is a spook-a-minute thrill ride; to everyone else, you may have to learn to sleep with the lights on.
The story is set around a simple, but inarguably juicy premise. Amidst the aftermath of a savage crime, one that leaves its victims mutilated beyond recognition, a surprisingly preserved and possibly unrelated body is found nearby. The mystery corpse belongs to a beautiful woman with cloudy eyes and unblemished skin, which make her cause and time of death nearly impossible to guess. Urgently needing an answer, the town’s Sheriff hands the body over to the local morgue, hoping that its father and son duo, Tony and Austin Tilden (respectively) can crack the case in the middle of a dark and stormy night. As the two get to work on the body, a series of strange occurrences begin to happen around the morgue, growing more violent and intent on stoping the Tilden’s from finding out the truth. What should’ve been a routine autopsy suddenly turns into a fight for survival.
Ovredal’s film is lean and refreshingly simple, never wasting a frame and hurdling quickly to its shocking end. After quickly setting up the stakes and characters, the film plays out like a psychological game of cat-and-mouse that manifests itself physically, with unending twists and revelations literally lurking around each dimly lit corner. As the Tildens scramble to untangle the mystery they’ve been unwittingly snared by, the story never repeats itself despite being confined to the morgue, with sinister specters that grow more violent with each encounter. Rather than feeling like a cheap succession of scares, however, the story is a fascinating, stripped down procedural that yields a rich mythology and labyrinthian deceit. Honestly, it would’ve been creepy enough just to watch the Tildens systematically break down Jane Doe’s body for answers, but the supernatural underpinnings take things next level, with Ovredal finding a perfect synergy between stylish photography, tense pacing and smartly choreographed scares.
Even if the film’s mystery weren’t as gripping as it is, Brian Cox and Emile Hirsch are impossible to look away from. As Austin, Hirsch centers the film with a restrained uncertainty, eager to be loved by his father, but at the same time wanting to create his own path, as opposed to simply following in his footsteps. This idea is at the core of the film, and Hirsch finds the power of his character’s troubled conscience through restraint. As Tony, Cox is great as always, going through each scene with a charming, yet intimidating presence that’s endearing more than anything else. Cox’s performance thrives in the space between these conflicting ideas, even at times giving his delivery a deadpan humor that eases tension and helps to humanize the entire thing. Together, the two boast such real, lived-in chemistry, and you cheer to see them solving each riddle, even as they hide a set of repressed hopes and fears towards one another. It’s because of them that we want to cheer for every minor victory and shuffle in our seats when the danger gets too much to bear.
There’s no doubt in my mind, that under the hands of lesser director, the film wouldn’t have been able to balance the nuance that keeps it afloat. Instead, Overdal’s direction is assured, upholding humanity and thrills in equal measure – you’ll be blown away by how the film continually shifts, and bowled over by its twisted ending. The Autopsy of Jane Doe knows exactly what it wants to be, staying true to its numerous strengths and keeping us guessing the entire way through.
SG
