Imagine being sent off to a random European country only to find out that what you were looking for isn’t quite what you find. No, this isn’t the latest plot of a James Bond film. Rather, it’s the basic narrative of Dejan Zecevic’s The Rift: Dark Side of The Moon.
At its core, it’s kind of a canned Twilight Zone episode. So you get some great campy acting, exotic locales, a trusty team of Deep State operatives and a dying scientist with a dark secret.
“The strength of The Rift however is in its hard turn into a haunted house scenario.”
The strength of The Rift however is in its hard turn into a haunted house scenario. Shifting from spy movie to horror movie, it traps our protagonists in a rickety house. People die. People don’t explain things. There’s a couple jump scares. And there’s definitely an axe that becomes a grisly tool of death.
In these moments, it’s clear that the performances and tropes of genre are what make The Rift enjoyable. Ken Foree’s performance as John Smith shines as he quips, even when he descends into paranoia. Liz Waid (Katarina Cas) spends much of the film asking questions and running around, terrified. But it works, as she is us and we are her, experiencing the horror of being trapped in that drafty a*s house in Serbia. And, while both men have smaller roles, Dysart (Monte Markham) and Darko (Dragan Micanovic) complete the reliable roles needed to make the mystery work.