The Veil

Writer-director Brett Bentman’s The Veil is a fresh twist on a particular horror subgenre. However, to explain how or why would be to spoil the second half of the movie. With that in mind, note that the following plot synopsis will be as accurate as possible without ruining the twists and turns of the narrative. TLDR: the plot synopsis will be a bit vague to avoid spoilers.

Jimmy (Walker Hayes), his wife Becca (Tiffany Montgomery), and their daughter Kaylee (Brinly Marum) head to the family cabin for the weekend. It is in this lakefront house that the parents break the news that they are getting a divorce. Kaylee is upset by the news, of course, and it only further strains her relationship with her mom and dad. In order to sort her thoughts out, the teenager heads to the lake where she meets a boy roughly her age named Noah (Brody Rose). With very few people to turn to and no one else in her demographic, Kaylee opens up to Noah. The boy can relate a bit, as he claims his parents are never home. But as the two grow closer, Jimmy, Becca, and Kaylee drift even further apart. This fissure in the family unit grows even deeper when Noah comes over for dinner one night. Who is Noah really, and what does he want with Kaylee?

Let’s get the negative out of the way first and end on the positive. Near the end are some very bad computer effects. Even granting that The Veil is an independent production, the CGI is rubbery and unconvincing. The moment should be thrilling and intense, but it isn’t, due to the effects.

“Who is Noah really, and what does he want with Kaylee?“

The other issue is the music; well, in one scene anyway. Simone Cilio’s music is very moody, setting the proper tone and atmosphere for 99% of the 93-minute runtime. But in one sequence, the ominous approach undercuts the appeal. When Kaylee first meets Noah, the music is deep and eerie. This sets the audience up not to trust the boy from the start, which robs later scenes, such as the confrontation over marijuana, of stakes. Instead of thinking “is the dad over-reacting or is Noah a bad influence?” the teen is always presented in the worst light.

But most of The Veil works very well. The kind of horror-thriller Bentman has crafted here has been done before a lot. But, as mentioned above, his approach is very novel and creative. While dramatic irony places the audience ahead of the characters regarding what’s happening, a mystery still surrounds it all. The director gets a lot of mileage out of the lake, forest, and cabin, creating a creepy feeling in each location. Plus, the pacing is on point, as no scene outstays its welcome.

The cast also helps maintain the atmosphere. Marum is great as the understandably sullen teen looking for someone, anyone, who understands her. She remains likable even when fighting with her on-screen parents and sells the pain of her family dissolving in front of her. Rose is creepy but suave and never overplays anything until he must (again, no spoilers). Hayes walks a fine line between overbearing and distant. Montgomery excels at being sweet yet firm, and seemingly out of her depth before things take a turn for the weird.

A few minor flaws prevent The Veil from being truly magnificent. But those issues are minor overall. Between the strong acting, eerie score, and atmospheric direction, the motion picture is unnerving and intriguing in equal measure. However, it is the sheer originality the script brings to this kind of material that really pushes it over the edge and makes the film stand out in a significant way.