Outpost is the feature debut from comedy stalwart Joe Lo Truglio and begins with Kate (Beth Dover), who tries to find a life of peaceful tranquillity in an Idaho fire-watch outpost following a violent attack. With nobody but her neighbour Reggie (Dylan Baker), for company, Kate begins to learn that while her new home in the woods may hold the quiet she’s looking for, her experience will be far from tranquil.
We’re immediately thrown a million of the usual horror red herrings as Kate tries to settle into the new town and meet the locals, including the creepy neighbour who’s prone to angry outbursts and has a potentially shady past, the sleazy local law enforcement officer (in this case the park ranger), and a curious trekker who seems to flit in and out of the story. Kate’s interactions with all but the trekker are minimal, but her general unease around these individuals adds to a feeling of mounting tension that spills into blood-soaked fury come the finale. Add to this a traumatic and violent incident from her past and it appears that despite her best intentions, Kate’s self-isolation may not be the best for her mental state.
The fact that Kate’s overall story and arc is enough to keep you engaged throughout is a testament to the strength of not only Dover’s performance, but the intrigue raised around her ability to cope with the pressures of her new found job and her seclusion.
Although the characters are well-written and the performances throughout are well-directed, certain plot elements are never fully explored which leaves a slightly empty feeling. The full extent of Kate’s trauma is never laid out on screen, with hallucinations involving an abusive partner our only insight into her suffering. The chief ranger (Ato Essandoh), appears to have the most backstory, and some of the expository dialogue explains his reaction to everything Kate does. Reggie – the temperamental local – has a backstory that’s never completely fleshed out, with a did he/did he not kill his wife thread left frustratingly loose. The fact that Kate’s overall story and arc are enough to keep you engaged throughout is a testament to the strength of not only Dover’s performance but also the intrigue raised around her ability to cope with the pressures of her newfound job and her seclusion.
There’s also a feeling that this may be your usual tale of redemption, with Kate finding her strength again. Thankfully, as this seems to be a path trodden more often than not recently, Outpost opts to subvert expectations, never fully having you on board with Kate, and questioning whether her mistrust of everyone is deserved or caused by her own paranoia and possible delusions.
Horror movies which deal with trauma can seem a dime a dozen at the moment, and while Outpost doesn’t reinvent the wheel, it builds to a thrillingly violent finale. With Lo Truglio making what now seems a familiar jump from comedy to horror/thriller, his first outing has a lot going for it while perhaps not fully landing all its punches.
Outpost (2022) is available on digital platforms from September 11th
Andy’s Archive: Outpost (2022)
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