It helps that Crump is really good here. She’s easy to root for and makes Emily’s fear and timidity feel authentic. Feltham emotes very well underneath the extensive practical effects that bring her character to life. She moves in a unique way that suggests a creature unlike anything else, yet allows all watching to understand her pathos and fear. Swan is excellent in her handful of scenes as an older Dorothy. While the character is cliched (catatonic save for the one thing that made them that way, etc.), she exudes strength and helps sell the mystery.
Unfortunately, not every actor in Gale: Yellow Brick is good. Hariet Isidor plays the important role of Eric. Their slow way of walking and talking is distracting and off-putting. Even worse, though, is Bailey. Maybe she was going for cold and calculating, but she’s far more awkwardly stiff, never coming across as a threat. Well, that is until the end, but by then it is too late.
“…Alexander’s labor of love still works, despite some bumps.”
However, Alexander’s labor of love still works, despite some bumps. The ending is great from Emily’s personal growth perspective, but it does not completely tie in the Oz aspects in a way that truly makes sense. Yes, letting audiences decide what’s real and what isn’t is a lovely idea, but Dorothy and Emily’s mom being protectors (?) of this realm doesn’t add up. The way the camera follows Emily, then suddenly stops, often ratchets up the tension. Though the director does rely on this technique, maybe one too many times, so it becomes less effective as time wears on. On the other hand, the camera’s movements are so interlinked with Emily’s state of mind and point of view that it is almost an invisible character. The flick has the requisite jump scares — a sequence involving a munchkin is telegraphed — but Alexander does not rely on much gore or violence to sell the terror. He and his co-writer want the horror to come from how audiences feel about Emily and the nightmares that come alive to torture her.
But, Alexander’s reliance on practical effects and makeup is admirable and awe-inspiring. Seriously, this indie film looks so good because everything is practical. Patches, who is sort of a Patchwork Girl/Scarecrow mashup, is a multicolored quilt with a yarn top and sewn lips. The Tin Man, who has only one and a half scenes, is black metal, with the welding marks reddish-orange. It is a great and very original design. As previously mentioned, the blue and yellow/orange lighting creates an eerie vibe from the first scene and never lets up.
Gale: Yellow Brick Road is flawed. There are a number of jump scares, the finale feels a bit disjointed, and the cast is a mixed bag. But in lieu of gore for its own sake, Alexander puts the terror of the unknown and being scared of yourself at the forefront. Crump cuts a dynamic, sympathetic lead, believably running the gamut of emotions with heart and determination. Plus, the camera moves and the practical effects are top-tier, helping sell the movie’s unique atmosphere. Overall, this is a strong feature debut for Alexander and Ford, but perhaps next time they can let a third set of eyes glance at the script.
"…does not rely on much gore or violence to sell the terror."
