The Changed, from writer-director Michael Mongillo, is an enjoyable, engaging update of the Invasion of the Body Snatchers horror template whereby people’s bodies and minds are taken over by an unseen, malevolent force. The film taps familiar sources, but with a contemporary resonance and vivid visuals, it’s a highly watchable homage.
The film is set in an unspecified suburban neighborhood where 30-something couple Mac (Jason Alan Smith) and Jane (Carlee Avers), along with teenager Kim (Clare Foley), notice strange patterns of behavior among residents, particularly Mac’s best friend, Bill (Tony Todd). One morning, Bill kisses Mac out of the blue. Later that day, when Jane is at work, an obnoxious colleague forces his tongue down her throat. Mac’s beautiful neighbor Sara (Olivia Freer) demonstrates a hitherto unseen level of interest in him, which makes him immediately suspicious.
It soon becomes apparent that an invisible force is controlling people’s minds, making them subservient to some higher power. This vulnerability is passed from person to person by kissing, and once “infected” with this new mindset, they are known as “the changed.” The so far unchanged trio hole themselves up inside Mac and Jane’s house to protect themselves against this dreadful new obedience to some unseen, sinister power laying waste to society.
The scenario has obvious parallels with COVID social distancing, and while that’s likely unintentional, audiences will inevitably view this film through this prism. The domestic setting (it largely takes place in Mac and Jane’s house) carries shades of home invasion thrillers like Funny Games, Desperate Hours and Wait Until Dark. While this is hardly original, across a lean and mean 80 minutes the filmmakers do a great job of suturing the viewer into this hermetically sealed, fictional world of disconcerting terror.
Impressively, Mongillo gradually ratchets up the tension, and Smith, Avers and Foley all credibly convey their characters’ bewilderment at their friends’ and neighbors’ behavior. Cinematographer RJ LaRussa resists the temptation to go overboard on low-key lighting, which can be easy to do with chillers like this, and in a counter-intuitive move instead lights the characters brightly and clearly. His technical work here is very effective, so it will be interesting to see what he does on films he goes on to lens in the future.
Despite a modest budget, a lack of big-name (“Star Trek: TNG” vet Todd notwithstanding) actors and what is likely to be a limited theatrical release, the movie punches well above its weight in terms of delivering jump-scares and shocks. Mongillo ably guides the cast through this paranoid atmosphere, and LaRussa’s work is strong, while Len Miller contributes an eerie, atmospheric score. Todd’s presence in a film is always welcome, even if he only gets limited screen time here. His commanding voice reminds you of his ability to dominate a scene, and the way in which he has become one of our most sadly under-utilized screen actors. If you’re looking for an unpretentious, engaging, unpredictable shock-fest, you could do a lot worse.
Photo courtesy of Quiver Distribution
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