DEAD MAIL
****
Directed by Joe DeBoer & Kyle McConaghy.
Starring Sterling Macer Jr, John Fleck, Tomas Boykin.
Thriller, US, 106 Minutes, Certificate TBC
Reviewed as part of Pigeon Shrine FrightFest 2024
With Mark Kermode taking to the stage to provide a special praise-filled introduction at its international premiere, DEAD MAIL seemed to be setting itself up as something very interesting indeed. The synopsis provided for the film in this year's FrightFest programme really only provided the bare bones of the film's many pleasures that can be found within it. And a good thing too. The pleasures of a film festival, particularly FrightFest, is the thrill of discovery. Knowing nothing about a particular film or who made it, then springing forth as a dedicated convert once the lights rise up over the end credits is just one of the many incidental pleasures of being a dedicated film fan. Which is very much the case here with Joe DeBoer and Kyle McConaghy’s twist filled film which enthrals and disturbs both visually and aurally.
Right from the off, DEAD MAIL grips the audience with its foreboding and exciting opening. A man bursts out from the doorway of a seemingly normal house. Bound in twine, chained around the ankles and clutching a bloodstained note he crawls desperately towards a mailbox before he is grabbed from behind by his apparent captor. From here the film zigs and zags through time and location as we start to piece together what exactly is going on through the keen eye of Jasper, a mail investigator who specialises in tracking down the intended recipients of defaced or damaged mail. Such a seemingly mundane task becomes gripping and involving here, giving the film a real sense of pace but to say anymore of where the film goes from here could venture into spoiler territory.
This is a refreshingly unpredictable thriller with some real surprises in store. Low in budget but executed with confident skill and verve, DEAD MAIL quickly proves itself to be one of the most involving thrillers in quite some time. Its 80’s period setting goes beyond mere set dressing, giving the film a superficial retro feel. The film grain and convincing period detail gives proceedings a tactile feel, making it much more convincing than any number of recent projects set in this ever popular decade. Said look, populated by the drab and chunky fashions and furnishings of the time is aided by an extraordinary synth soundtrack. Where the go-to choice for other such films set at this point in time is more often than not reminiscent of John Carpenter’s sleek and sinister melodies, DEAD MAIL opts for something more organic and ominous.
The soundtrack is important as it often springs forth from the narrative itself. Without giving anything away, synthesisers play a crucial role here. The analog look, feel and sound are crucial here, elevating the material to sinister heights. However, this dark and sinister side is complemented by a tale of longing that gives the film a forlorn and haunting quality that further deepens the film.
As expertly plotted as the film is, it is further elevated by its performances. As Josh, the captive figure, Sterling Macer Jr gives a humble and dignified performance where he is matched by Tomas Boykin’s convincing portrayal of the quietly determined postal investigator. However, John Fleck, a familiar face after playing a large number of bit parts over the years, dominates the film with his character Trent. As I try to avoid spoilers I cannot say how and why he does so, but he proves himself to be the equal of any of his more celebrated peers here with his fascinating and tragic character. If there is any justice, DEAD MAIL will propel his career, as well as his fellow cast mates to greater heights. It seems to have done the trick for its writer/directors as they have seemingly already been snapped up by Hollywood as the film completes its festival run. Track down DEAD MAIL as soon as you can.
Iain MacLeod
