If you accept its a torture thriller drama from the get go and are fully on board with it it does what it intends to. The moral dilemma was well stated and the writing of the characters was a strength particularly with Katherine Isabelle channeling her best post-ginger fitzgerald character well here. I felt for her character because she understood the character she was playing well and was able to portray the emotions and nuances. This could've been a run of the mill stupid torture fest but it's actually a cut above. It was handled as a dark drama and thriller about what is often a horror. And the actors and writers were able to pull off what they set out to achieve. Some of it is of course in poor taste in theme. But the story right from the opening credits made no mistake in promising that it would be sad/dark. Despite that It leaves a somewhat good resolution or message in the ability of survival, and good over evil. and Katharine Isabelle.
7 Reviews
Chris Abell takes you on an enthralling, horror filled, psychological experience!
passionatelyplotted2 March 2022
Warning: Spoilers
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From the opening scene, to the credits, "Victims" forces you to acknowledge the true depths grief and despair may lead a person, the realities of narcissistic abuse, and the fact that some people truly are born horrifically evil.
Unlike most films within this genre, "Victims" draws you into each and every character's state of mind, forcing you to emphasize with even the most vile. "Gatling" played by Julian Richings gives a positively terrifying performance, which is only overshadowed by the character of "Riley", played by Sebastian Pigott.
Together the two attack "Lindsey", played by Katherine Isabella whose performance throughout the film is positively unmatched, while her husband, "Spencer" played by Christian Campbell is away from the house. Together the two torture "Lindsey" in the most horrendous way imaginable, while Riley restrains and rapes "Lindsey", "Gatling" drowns their infant son just feet away, completely within her line of sight.
It is not clear within the film how exactly Spencer finds out about the attack, but you are left to assume that he shows up while the rape is taking place. Spencer, who we later learn was heavily abused as a child by his father, who witnessed his own mothers suicide, seems to become utterly unraveled. Capturing both Gatling and Lindsey, he imprisons them in the basement, subjecting each to unthinkable torments, both psychologically and physically. Eventually Spencer is able to bring himself to kill Gatlin, in order to avenge his son after seeing that there is no humanity living within him.
Through many flashbacks we learn that "Lindsey" appeared to once be happily married to "Spencer". Though there are heavy undertones suggesting Spencer has serious abandonment issues due to his own childhood. Then, when faced with the loss of his son, and the rape of his wife, these traits are exacerbated, transforming Spencer into a unrecognizable version of himself, one much resembling that of his own abusive father.
Fraught with uncontrollable grief, Spencer seems to lose all hold on reality. When Lindsey, who is fully aware of the events unfolding in the basement, can see that the husband she once shared a child with no longer exists. She expresses her desire to leave, Spencer terrified of losing the last piece of his past life, chooses to imprison her by securing a chain to her ankle, believing that once Riley is killed, their life could go back to normal.
With no neighbors for miles, Lindsey is forced to survive in the dilapidated house, windows boarded, locks on every door, most nights she sleeps in the closet floor of a bedroom that we can only assume was once her child's.
There are times throughout this film in which Lindsey has the opportunity to get away, to kill Spencer, and even the chance to kill Riley, though she can't seem to bring herself to do either, paralleling the situation many women face when deciding whether or not to leave their abusers.
The film culminates, with Lindsey realizing that she is pregnant, knowing the child isn't Spencer's, Lindsey is all too aware of what lengths Spencer would go to end not only her unborn child's life, but her own as well. Speaking with Riley through a laundry shoot, Riley manages to manipulate Lindsey into helping him escape. Believing she can trust Riley, she sets him free only to soon learn what a grave mistake she's made.
Throughout the film Chris Abell manages to visually express the depths of grief, depression, and many forms of abuse in a way which I have never before seen accomplished in cinematics.
Unlike most films within this genre, "Victims" draws you into each and every character's state of mind, forcing you to emphasize with even the most vile. "Gatling" played by Julian Richings gives a positively terrifying performance, which is only overshadowed by the character of "Riley", played by Sebastian Pigott.
Together the two attack "Lindsey", played by Katherine Isabella whose performance throughout the film is positively unmatched, while her husband, "Spencer" played by Christian Campbell is away from the house. Together the two torture "Lindsey" in the most horrendous way imaginable, while Riley restrains and rapes "Lindsey", "Gatling" drowns their infant son just feet away, completely within her line of sight.
It is not clear within the film how exactly Spencer finds out about the attack, but you are left to assume that he shows up while the rape is taking place. Spencer, who we later learn was heavily abused as a child by his father, who witnessed his own mothers suicide, seems to become utterly unraveled. Capturing both Gatling and Lindsey, he imprisons them in the basement, subjecting each to unthinkable torments, both psychologically and physically. Eventually Spencer is able to bring himself to kill Gatlin, in order to avenge his son after seeing that there is no humanity living within him.
Through many flashbacks we learn that "Lindsey" appeared to once be happily married to "Spencer". Though there are heavy undertones suggesting Spencer has serious abandonment issues due to his own childhood. Then, when faced with the loss of his son, and the rape of his wife, these traits are exacerbated, transforming Spencer into a unrecognizable version of himself, one much resembling that of his own abusive father.
Fraught with uncontrollable grief, Spencer seems to lose all hold on reality. When Lindsey, who is fully aware of the events unfolding in the basement, can see that the husband she once shared a child with no longer exists. She expresses her desire to leave, Spencer terrified of losing the last piece of his past life, chooses to imprison her by securing a chain to her ankle, believing that once Riley is killed, their life could go back to normal.
With no neighbors for miles, Lindsey is forced to survive in the dilapidated house, windows boarded, locks on every door, most nights she sleeps in the closet floor of a bedroom that we can only assume was once her child's.
There are times throughout this film in which Lindsey has the opportunity to get away, to kill Spencer, and even the chance to kill Riley, though she can't seem to bring herself to do either, paralleling the situation many women face when deciding whether or not to leave their abusers.
The film culminates, with Lindsey realizing that she is pregnant, knowing the child isn't Spencer's, Lindsey is all too aware of what lengths Spencer would go to end not only her unborn child's life, but her own as well. Speaking with Riley through a laundry shoot, Riley manages to manipulate Lindsey into helping him escape. Believing she can trust Riley, she sets him free only to soon learn what a grave mistake she's made.
Throughout the film Chris Abell manages to visually express the depths of grief, depression, and many forms of abuse in a way which I have never before seen accomplished in cinematics.
A Rollercoaster Ride of emotions
ailismckinney4 March 2022
Victims is one of those rare films that comes around once in a great while. It brings to life our worst fear, a home invasion gone wrong, and the aftermath. Leaving you to wonder how far you would go and what you would be willing to lose if given the chance for revenge.
From the first scene, you are captivated and held hostage until the credits roll. The lonely, dilapidated house is a stark representation of the game being played out within its walls.
Lindsay (Played by Katherine Isabella) has just survived a horrendous attack and the loss of more than her innocence. She is struggling to move past the tragedy, but she finds herself trapped in a prison she once called home.
Spencer (Played by Christian Campbell) Is Lindsay's husband, battling his own demons. He is unable to forgive himself for not being there to save his family, however, has now found a way to redeem himself. But we begin to wonder if he is truly the loving husband he claims to be.
We watch Spencer slowly spiral out of control while "keeping" his wife safe. Lindsay finds herself resenting the man she once loved and sympathizing with the man being held captive.
This film is a Must see. Everything about it is phenomenal from the acting to cinematography. It draws you in and there is no escape.
Chris Abell who wrote and directed this film is extremely talented, you feel the pain and vulnerability of the characters. The twists and turns of this story will keep you on the edge of your seat and when it is over you will be plagued by the question "Who are the real Victims?
From the first scene, you are captivated and held hostage until the credits roll. The lonely, dilapidated house is a stark representation of the game being played out within its walls.
Lindsay (Played by Katherine Isabella) has just survived a horrendous attack and the loss of more than her innocence. She is struggling to move past the tragedy, but she finds herself trapped in a prison she once called home.
Spencer (Played by Christian Campbell) Is Lindsay's husband, battling his own demons. He is unable to forgive himself for not being there to save his family, however, has now found a way to redeem himself. But we begin to wonder if he is truly the loving husband he claims to be.
We watch Spencer slowly spiral out of control while "keeping" his wife safe. Lindsay finds herself resenting the man she once loved and sympathizing with the man being held captive.
This film is a Must see. Everything about it is phenomenal from the acting to cinematography. It draws you in and there is no escape.
Chris Abell who wrote and directed this film is extremely talented, you feel the pain and vulnerability of the characters. The twists and turns of this story will keep you on the edge of your seat and when it is over you will be plagued by the question "Who are the real Victims?
Refreshing take on the home invasion movies
sanjapavosevic2 March 2022
Warning: Spoilers
There is a good reason why Victims won the Best Low-budget feature at the Toronto Independent Film Festival: it is a stunningly shot and engaging movie. Not necessarily a stereotypical horror flick-and, despite its fair share of blood, definitely not your average run-of-the-mill slasher-Victims is quite a refreshing take on the revenge movies we've all seen way too many times.
Oddly enough, Victims doesn't seem like a low-budget movie. Sure, the cast numbers only nine actors, but the director knew what he was doing every step of the way. From the innovative flashbacks, slow and in the sepia tone that almost feel warm despite the horror that struck, to the emotional, disturbing, and gut-wrenching acting, this movie will keep you on the edge from start to finish.
The take on the home invasion trope is novel, since our "victims" got to turn the table and write their own narrative. From the get-go, we're unapologetically plunged deep into a disturbing, yet captivating story of a couple fighting both their own demons and the two invaders who have become their captives. The couple, portrayed by Katherine Isabelle (Hannibal, Supernatural) as Lindsay and Christian Campbell (True Detective, Supernatural, CSI: Miami) as Spencer, seem like your generic good guys forced to perform questionable acts, until you find yourself feeling pity towards their own attackers. The question that is raised almost immediately is whether Spencer is actually your "good guy" at all. When he murders Gatling (Julian Richings) in an admittedly gimmicky way and tortures Riley (Sebastian Pigott), Lindsay turns against him in a stunning subversion of the Stockholm Syndrome plot. The slow descend of our protagonist into madness on the path to freedom is a joy to see.
Throughout the movie, the title also looms over the viewers, forcing us to choose sides, to rethink the entire concept of victimhood. The layers keep unravelling excruciatingly slowly, and therein lies the greatest asset this movie brings: it captures you and doesn't let go. From one plot twist to another, the need to understand the dénouement keeps us on pins and needles.
And even after everything has been said and done, after the end scene, the question remains: who are the real victims?
Oddly enough, Victims doesn't seem like a low-budget movie. Sure, the cast numbers only nine actors, but the director knew what he was doing every step of the way. From the innovative flashbacks, slow and in the sepia tone that almost feel warm despite the horror that struck, to the emotional, disturbing, and gut-wrenching acting, this movie will keep you on the edge from start to finish.
The take on the home invasion trope is novel, since our "victims" got to turn the table and write their own narrative. From the get-go, we're unapologetically plunged deep into a disturbing, yet captivating story of a couple fighting both their own demons and the two invaders who have become their captives. The couple, portrayed by Katherine Isabelle (Hannibal, Supernatural) as Lindsay and Christian Campbell (True Detective, Supernatural, CSI: Miami) as Spencer, seem like your generic good guys forced to perform questionable acts, until you find yourself feeling pity towards their own attackers. The question that is raised almost immediately is whether Spencer is actually your "good guy" at all. When he murders Gatling (Julian Richings) in an admittedly gimmicky way and tortures Riley (Sebastian Pigott), Lindsay turns against him in a stunning subversion of the Stockholm Syndrome plot. The slow descend of our protagonist into madness on the path to freedom is a joy to see.
Throughout the movie, the title also looms over the viewers, forcing us to choose sides, to rethink the entire concept of victimhood. The layers keep unravelling excruciatingly slowly, and therein lies the greatest asset this movie brings: it captures you and doesn't let go. From one plot twist to another, the need to understand the dénouement keeps us on pins and needles.
And even after everything has been said and done, after the end scene, the question remains: who are the real victims?
The world is not meant for the weak
alexidexterbear9 March 2022
Warning: Spoilers
*Spoilers ahead*
If you are after a feel-good movie, one that will increase your serotonin levels and leave you with optimism by the film's end, then I'd question why you picked up a movie titled "Victims."
Chris Abell's drama-filled thriller explores several aspects of the human mind. It makes one question where boundaries are drawn and when they should be crossed, complimented by the cinematography, music and stand out performances. So, you may need to postpone your feel-good movie date and delve into the calamitous thriller that Abell has created.
The film follows the title in every sense of the word, and that is no more apparent in the film's opening scene. Instead, we are quickly introduced to the film's sombre mood, witnessing atrocities played out from the very beginning, perfectly encapsulated by the dark and morbid Julian Richings, speaking to us through a lens of darkness and setting the mood for the following hour and forty-five minutes.
By the opening scene's conclusion, we seem to play catch up, attempting to pick up the pieces and aimlessly placing them together as we are formally introduced to our main characters, Lindsay (Katharine Isabelle) and Spencer (Christian Campbell).
With their introductions, we are able to place our first part of the puzzle in place as we identify both characters from the opening scene. Lindsay is every sense of the word that the title suggests, a victim, not only by her abuser - but as we place that second piece in place - her husband as well.
Chained and bloody, we slowly visit the couple's past through Lindsay, discovering that there was a life before the time in question, a time with a child and purpose - evidentially, exposing Spencer's insecurities well before the film's events.
As we haphazardly begin to piece the puzzle together, the question lingers of who the real antagonist is within this story, as the film wastes no time digging into morally questionable acts. Our two traditional antagonists, Riley (Sebastian Pigott) and Gatling (Julian Richings), are depicted as monsters, chained up and bloody at the mercy of Spencer. And as the audience, the first question is posed: would I react the same? Is this justifiable? All reasonable questions to ask, but it makes it all that much harder to relate to a twisted man in Spencer, a tattered husband who has his wife chained and battered, all in the name of vengeance.
Abell positions the audience in a challenging situation as we seek justice but find ourselves rooting for a man who has clearly lost his mind. The introduction of Gatling and Riley is positioned at the right time, as we are further confused by Riley's denial of ever remembering playing out the unspeakable acts he performed. In contrast, Julian Richings' performance is the polar opposite, owning his actions and somewhat trying to convince Spencer and the audience that the world is a bad place and humans are bound to follow suit.
The firepit scene is powerful, and Richings performance - although a mere couple of minutes - stands out above the rest, asking the question of whether two wrongs make a right. His ultimate demise in an open fire is symbolic, spine chilling as we sense no other emotion other than anger.
Furthermore, Spencer's motives are questionable as we ask why anyone would torture the person they love, exploring a notion that seems taboo but is rife within many households. Moreover, the attempted sex scene epitomises the fragility of marriage and abuse that fractures many relationships.
Abell plays with various emotions as we witness Lindsay turn to her abuser in a case of Stockholm Syndrome-the lesser of two evils in her mind. Pigott's portrayal of a rapist attempting to redeem himself, somewhat convincing of his innocence, would fool the most gullible. Still, Abell leads you without holding your hand in its entirety, laying out a foundation for viewers to draw up their own conclusions. A welcomed tactic but, unfortunately, an obvious path that was hard to miss.
Pigott's performance is raw and convincing as a man confused and scared. His performance draws Lindsay and the viewer in, and it is commendable, but it came as no surprise that Riley's real intentions were sinister.
The standout performance was, of course, Isabelle's, as she depicts a broken mother and wife, suffering at the hands of many. Her range between emotions is believable and relatable as she cuts through glass with her emotive facial expressions that don't require speech to convey the mood. We root for her and empathise with her, but we believe in her most of all.
Campbell's portrayal of a man unhinged is accurate and times eerie; a bittersweet character if you may. A sweet to the sour, Campbell can't help but come across as mad, infuriated and lost. But it is hard not to relate to his character in some sense. Again, a tactic Abell conducts with precision throughout the film; he places you in a morally questionable situation and lays out scenarios that we honestly could not say we would do any different.
The actors' performances are complemented by the score and cinematography, highlighting the mood with lighting-or lack of - and dark long played out strings that add to the film's suspense - the opening scene optimises the two in every sense.
As the film's title is no coincidence, it is a mere deliberate ploy, exploring how one event can affect people differently. Abell explores the victim in the traditional sense in Lindsay but also explores the idea that one can be a victim even if you have the cruellest intentions. The film's closing moments are powerful and heart wrenching and pull at a few heartstrings without going overboard. All the while, the film's premise rings true throughout and focuses on the fragility of people - especially in a bond of marriage.
Furthermore, Abell tells a story of the grief and pain of a broken marriage through unfortunate events. The cast-although not flawless - pays Abell's vision justice, portraying their characters in believable and somewhat eerie depictions. Although there were times when the acting was relatively stagnant and cliched, and some scene transitions were abrupt, the overall experience was pleasant, albeit setting.
Overall, each aspect of the film seemed to complement each other, and there was not a point in the film where it dropped off to the point it lost one's attention. It is a welcomed take on love and marriage in the worst of situations as the film feels like a large puzzle, slowly piecing itself together from the borders moving inward. It is not for the faint-hearted, but that, within itself, makes the film stand out and worth watching. Ultimately, it makes one question their morals and makes one wonder if the world is indeed not meant for the weak.
If you are after a feel-good movie, one that will increase your serotonin levels and leave you with optimism by the film's end, then I'd question why you picked up a movie titled "Victims."
Chris Abell's drama-filled thriller explores several aspects of the human mind. It makes one question where boundaries are drawn and when they should be crossed, complimented by the cinematography, music and stand out performances. So, you may need to postpone your feel-good movie date and delve into the calamitous thriller that Abell has created.
The film follows the title in every sense of the word, and that is no more apparent in the film's opening scene. Instead, we are quickly introduced to the film's sombre mood, witnessing atrocities played out from the very beginning, perfectly encapsulated by the dark and morbid Julian Richings, speaking to us through a lens of darkness and setting the mood for the following hour and forty-five minutes.
By the opening scene's conclusion, we seem to play catch up, attempting to pick up the pieces and aimlessly placing them together as we are formally introduced to our main characters, Lindsay (Katharine Isabelle) and Spencer (Christian Campbell).
With their introductions, we are able to place our first part of the puzzle in place as we identify both characters from the opening scene. Lindsay is every sense of the word that the title suggests, a victim, not only by her abuser - but as we place that second piece in place - her husband as well.
Chained and bloody, we slowly visit the couple's past through Lindsay, discovering that there was a life before the time in question, a time with a child and purpose - evidentially, exposing Spencer's insecurities well before the film's events.
As we haphazardly begin to piece the puzzle together, the question lingers of who the real antagonist is within this story, as the film wastes no time digging into morally questionable acts. Our two traditional antagonists, Riley (Sebastian Pigott) and Gatling (Julian Richings), are depicted as monsters, chained up and bloody at the mercy of Spencer. And as the audience, the first question is posed: would I react the same? Is this justifiable? All reasonable questions to ask, but it makes it all that much harder to relate to a twisted man in Spencer, a tattered husband who has his wife chained and battered, all in the name of vengeance.
Abell positions the audience in a challenging situation as we seek justice but find ourselves rooting for a man who has clearly lost his mind. The introduction of Gatling and Riley is positioned at the right time, as we are further confused by Riley's denial of ever remembering playing out the unspeakable acts he performed. In contrast, Julian Richings' performance is the polar opposite, owning his actions and somewhat trying to convince Spencer and the audience that the world is a bad place and humans are bound to follow suit.
The firepit scene is powerful, and Richings performance - although a mere couple of minutes - stands out above the rest, asking the question of whether two wrongs make a right. His ultimate demise in an open fire is symbolic, spine chilling as we sense no other emotion other than anger.
Furthermore, Spencer's motives are questionable as we ask why anyone would torture the person they love, exploring a notion that seems taboo but is rife within many households. Moreover, the attempted sex scene epitomises the fragility of marriage and abuse that fractures many relationships.
Abell plays with various emotions as we witness Lindsay turn to her abuser in a case of Stockholm Syndrome-the lesser of two evils in her mind. Pigott's portrayal of a rapist attempting to redeem himself, somewhat convincing of his innocence, would fool the most gullible. Still, Abell leads you without holding your hand in its entirety, laying out a foundation for viewers to draw up their own conclusions. A welcomed tactic but, unfortunately, an obvious path that was hard to miss.
Pigott's performance is raw and convincing as a man confused and scared. His performance draws Lindsay and the viewer in, and it is commendable, but it came as no surprise that Riley's real intentions were sinister.
The standout performance was, of course, Isabelle's, as she depicts a broken mother and wife, suffering at the hands of many. Her range between emotions is believable and relatable as she cuts through glass with her emotive facial expressions that don't require speech to convey the mood. We root for her and empathise with her, but we believe in her most of all.
Campbell's portrayal of a man unhinged is accurate and times eerie; a bittersweet character if you may. A sweet to the sour, Campbell can't help but come across as mad, infuriated and lost. But it is hard not to relate to his character in some sense. Again, a tactic Abell conducts with precision throughout the film; he places you in a morally questionable situation and lays out scenarios that we honestly could not say we would do any different.
The actors' performances are complemented by the score and cinematography, highlighting the mood with lighting-or lack of - and dark long played out strings that add to the film's suspense - the opening scene optimises the two in every sense.
As the film's title is no coincidence, it is a mere deliberate ploy, exploring how one event can affect people differently. Abell explores the victim in the traditional sense in Lindsay but also explores the idea that one can be a victim even if you have the cruellest intentions. The film's closing moments are powerful and heart wrenching and pull at a few heartstrings without going overboard. All the while, the film's premise rings true throughout and focuses on the fragility of people - especially in a bond of marriage.
Furthermore, Abell tells a story of the grief and pain of a broken marriage through unfortunate events. The cast-although not flawless - pays Abell's vision justice, portraying their characters in believable and somewhat eerie depictions. Although there were times when the acting was relatively stagnant and cliched, and some scene transitions were abrupt, the overall experience was pleasant, albeit setting.
Overall, each aspect of the film seemed to complement each other, and there was not a point in the film where it dropped off to the point it lost one's attention. It is a welcomed take on love and marriage in the worst of situations as the film feels like a large puzzle, slowly piecing itself together from the borders moving inward. It is not for the faint-hearted, but that, within itself, makes the film stand out and worth watching. Ultimately, it makes one question their morals and makes one wonder if the world is indeed not meant for the weak.
YOU NEED TO WATCH THIS MOVIE!
mayy_benitez4 March 2022
This movie is A M A Z I N G, I couldn't stop watching from the beginning to the end!.
The acting, the background sounds, and the scenes are all at the highest level. I especially liked 'Lindsay', I got impressed by how she could handle that situation, she is an amazing actress!.
I loved the trama, with so much suspense on what was about to happen and that mysterious place. In fact, that made me thought about how was she going to escape from there, but what I never expected was something like 'Stockholm Syndrome'.
I don't know if it was intentional or not, but, in the end, I asked myself: Who are the real victims?
You HAVE TO watch this film!. For sure I will be talking with my friends (with or without spoilers? We will never know) about it.
The acting, the background sounds, and the scenes are all at the highest level. I especially liked 'Lindsay', I got impressed by how she could handle that situation, she is an amazing actress!.
I loved the trama, with so much suspense on what was about to happen and that mysterious place. In fact, that made me thought about how was she going to escape from there, but what I never expected was something like 'Stockholm Syndrome'.
I don't know if it was intentional or not, but, in the end, I asked myself: Who are the real victims?
You HAVE TO watch this film!. For sure I will be talking with my friends (with or without spoilers? We will never know) about it.
Well Acted
gab-6759930 June 2022
Warning: Spoilers
This movie was like a pill you just could not swallow. It was hard at times to watch but it was like you could not look away. The twist was unexpected! All of the actors were believable and I am not sure why this one is not rated higher. It really was a good movie but if you have an issue with rape, or a child dying this would not be good for you to watch.
See also
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