The Kindred Review: Everything you should know!
The Kindred is a 1987 American horror film directed by Jeffrey Obrow and Stephen Carpenter. Obrow also produced the film and co-wrote it with Carpenter, Earl Ghaffari, and John Penney.
Starring David Alan Brooks, Amanda Pays and Rod Steiger, The Kindred was released on January 9, 1987 and grossed over $2 million.
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The Kindred Review: Is the movie really scary?
There are too many complicated moments that set The Kindred’s plot in motion, and somehow, a lot of the more complicated plot twists and turns that somehow seem predictable and clearly delivered.
Directed by Jamie Patterson, it’s a story so obsessed with going from plot point to plot point that none of the characters attempts to address any of the themes.
The only thing that matters is the endgame, which is quite absurd and lame with a killing flick that evokes laughter more than anything. What follows is an unearned bleak ending that thinks it’s tying some parallels together, but in reality, it doesn’t make sense.
Kindred is also a melting pot of concepts involving amnesia, ghosts, motherhood, cold affairs, family matters. and more that never act as effective or tightly compact, Instead, the story is just numbered from one idea to the next,
Bypassing some characters while others are a seemingly obvious puzzle to piece together.
As far as the supernatural horror is concerned – though the presence of creepy kids makes for a dull leap at times,
There are moments that give off effectively terrifying vibes. The use of shadows within Helen’s home allows for a claustrophobic presence, disturbing the physical proximity of these children.
Where the film struggles the most is in its attempts to say something succinct from a thematic point of view. A major theme in The Kindred is that of parenting – the love of having a child and what we take from our parents.
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Considering how early in the film conversations about these themes appear, it doesn’t take long to believe that they are part of some larger narrative endpoint. But I’m keeping things vague so as to avoid spoilers the film ultimately falls flat on what it attempts to convey.
It’s an angle that, while interesting on paper, isn’t strong enough to make a meaningful enough statement. I can’t say whether the ending is super random or out there, but the change of direction does feel a little disturbing.
It’s a shame how the film’s journey to its conclusion is complicated and heartwarming.
That episode of emotional violence is presented to prevent Charlotte from nodding sympathetically, and becomes actively irritable.
The obstacles in his path are impenetrable, but so well marked that you really have to care about the inevitable cycle of violence and desperation it is meant to represent.
Lawrence’s performance is also noteworthy, but her character is rarely shown interacting with her captive in a way that is meaningful enough to make Charlotte’s story more tragic than tragic.