Studio: Saban Films
Director: Chris Cullari, Jennifer Raite
Writer: Chris Cullari, Jennifer Raite
Producer: Jessica Rhoades, Andrew Miller, Marcei A. Brown, Jeanette Volturno
Stars: Malin Akerman, Lorenza Izzo, Chris Messina, Sandrine Holt
Review Score:
Summary:
Two women escape from a manipulative cult leader who brainwashed them but, while lost in the desert, they discover their minds may still be under his influence.
Review:
When news of Keith Raniere and NXIVM first broke, I, like everyone else who instantly raised incredulous eyebrows while silently mouthing “WTF?”, anxiously awaited deeper details. Meaningful information was scarce at first. So for several days straight, it was the first topic I checked on news sites and social media, hoping to hear more. The story, which revolved around a self-help program that transformed into a manipulative sex cult involving branding, blackmail, and brainwashing, was fascinatingly bizarre. Not just because the scandal was salacious in nature, but because “Smallville’s” Allison Mack and several similarly statured celebrities played primary roles in recruiting and indoctrinating victims.
Right away, I wanted to watch every media profile and dramatic adaptation I could possibly get my eyes on. I knew it would take a while of course, years in fact, but my brain needed to understand how something with the scope of NXIVM happened, how it endured, and how it was undone.
A couple of documentary projects came out over time, most notably HBO’s 2020 series “The Vow.” 2022’s “The Aviary” however, is one of the first fictionalized thrillers to come out of that real-life ordeal. The movie certainly makes no effort to hide its influence, not that it wants to, nor that it should. I’m inclined to believe writers/directors Chris Cullari and Jennifer Raite even named “The Aviary’s” cult leader Seth because that’s only two letters removed from Keith.
But a key difference between “The Aviary” and what you might instinctively think of when you hear “cult-connected chiller” is that the spotlight doesn’t shine on an enigmatic egomaniac mesmerizing the minds of his/her followers. Instead of getting into the cult’s inner workings or seeing it through the gaze of a crazed leader, “The Aviary” follows two escapees who’ve already broken the spell and are fleeing on foot. This makes “The Aviary” more of an on-the-run survival drama, or a road movie where two people bond during a character study, rather than a horror film where a murderous sociopath with a Manson-like messiah complex controls the show.
Malin Akerman plays Jillian. Lorenza Izzo plays Blair. Chris Messina plays Seth, the Raniere-modeled man they’re fleeing from, but you only see him in brief hallucinations that haunt their heads – or maybe they’re pre-programmed visions planted by Seth since he still has a psychological hold over them. That’s part of the mystery motivating Jillian and Blair’s worsening inability to trust what they see and what they can believe.
“The Aviary” echoes insights highlighted in the aforementioned “The Vow.” Chief among those tenets, the idea that no one intentionally joins a cult. They just realize they’re in one long after it’s too late. Seth put his hooks into Jillian and Blair, and an untold number of unseen women, using typical tactics. He creates his own language by inventing unique terminology for his self-help systems. His signature inquiry of “What’s in the way of your joy today?” sets the stage for “Barrier Training” sessions where humiliating admissions are recorded for leverage.
But again, “The Aviary” doesn’t center on Seth. He’s not exactly the true villain, either. Rather, his influence is. Jillian and Blair got out of his compound, yet they aren’t even close to being out from under Seth’s specter. Escaping the cult is a physical sprint into the desert as they desperately search for safety that’s supposedly three 10-mile hikes away. Escaping Seth’s unconscious control over their behavior is a far longer marathon.
Or is it subconscious control? As the women wander, openly discuss their guilt for roping in new members, and struggle to believe they can detect the truth after listening to lies for so long, they come to wonder if Seth somehow burrowed so deep in their brains, he can sway them even when he isn’t there.
Although “The Aviary” is an exploratory journey of the immediate aftermath that comes in the wake of breaking free from a cult, the movie still features traditional trappings of typical thrillers. Jillian and Blair are both prone to waking nightmares as well as sleeping ones, so there are dreamlike creeps of suggestive suspense. A hypnotic hum persistently pulses on Zac Clark’s moody score to heighten the dreary, draining desert atmosphere where mirages bleed into reality. “Traditional trappings” also means a few predictable bits, such as an impaired ankle hindering progress, an inexplicable “how did we wind up walking in a circle?” loop, and a computer-cracking scene where they correctly guess a password within three tries. (Scriptwriters would be screwed if characters ever used auto-generated passwords like 9Ju-7&4%-Ply6^.)
Not unlike an actual cult, it’s important to know what territory you’re entering before getting into “The Aviary,“ since expectations set for an action-oriented adventure won’t align with the movie’s psychologically-grounded approach to illustrating emotional terrorism. For minds open to the latter theme, it’s intriguing to see this story from the practical perspective of victims struggling to overcome their paranoia, and how their unreliable psyches continue to fracture at a time when they should be changing directions. “The Aviary’s” ultimate implications aren’t as chilling as “The Invitation’s” (review here), though its tragically horrifying ending hammers home the notion that a cult’s ongoing influence may be even deadlier than any individual deeds perpetrated by its leader.
NOTE: There is a mid-credits scene.
Review Score: 65
While the movie works as an atmosphere-building slow burn, the lack of substance in the story makes “Black Cab” harder to get into as a narrative.