The Signal: A Captivating Exercise In Sci-Fi Surrealism

Ten or fifteen years down the line, it’s highly probable William Eubank’s surrealist science fiction thriller The Signal will enjoy a following similar to the Jake Gyllenhaal vehicle Donnie Darko. Both feature plots that can be described in one very simple yet crude word; mind fuck. Like Richard Kelly’s cult classic, The Signal is visually stunning throughout its short 95 minute runtime and on a relatively low budget. More significantly, performances from the small central cast of unknowns cohesively hold everything together.  

The Signal centers around hacking enthusiast and MIT freshmen Nick Eastman (Brenton Thwaites). Driving cross-country with girlfriend Hailey (Olivia Cooke) and best bud Jonah (Beau Knapp), he forms an obsession for mysterious rival hacker amusingly named Nomad. Eventually, pinpointing the exact location of the elusive figure, they take a detour miles out to an abandoned desert house. Of course Nick and Jonah decide to approach at night while leaving the sole female alone in the car.

As dumb as it sounds, how else is this head-scratching narrative going to move forward?   

Making their way throughout the creepy shack, a tense and slightly humorous scene involves the two realizing something isn’t right before hearing Haley screaming outside. Running outside, both males discover all doors of the car are open, Haley missing and the radio tuned to a strange signal. What takes place next is a quick shot of what seems like an alien abduction. Waking up in a mysterious facility, Nick is introduced to an even more mysterious figure convincingly portrayed by The Signal’s biggest star Laurence Fishburne. Then goes Nick’s mission of rescuing Haley and figuring out exactly how he got into this mess. Between making an escape and the film’s exciting yet purposely confusing final moments, strange characters from a lady who hears “angles” in her head to some psychotic trucker all subtly add layers to the story before throwing another curve-ball.

Holding everything together is Thwaites portrayal of Nick, a man caught in a weird yet terrifying situation. It’s been a good year for the Australian actor who also graces the silver screen this summer in Disney’s summer blockbuster Maleficent. Thwaites’s performance makes a good impression on both an emotional and physical level. Part of the film’s plot also centers on the fragile relationship between him and Hailey. Not only is Hailey moving across state for college, Nick’s freshly diagnosed spinal disorder has rendered him pretty disabled without his forearm crutches. This leads to a believable chemistry between the two loves; more so during the film’s use of flashback sequences of them in happier times. Though important in her own right, Cooke does a serviceable job as Hailey who isn’t truly utilized outside of her relationship with the leading male. Outside of scenes involving Nick speaking through an air conditioner duct, Knapp doesn’t become useful until The Signal’s action heavy sequence near the end, which is one of two visually fantastic set pieces. The film’s biggest star, Fishburne, gives an intelligent and subversively menacing performance. Though his role has him regulated to the clean, all white hazard suit, Morpheus himself finds more life in just his face than what many will probably see acting wise all year. Yes, he’s just that good.

Eubank manages to top his magical gift of cinematography first displayed in 2011’s Love for The Signal ten fold. Shot entirely in 2:40 wide-screen, this film may be the most visually arresting photography one will see all year. From the wide desert vistas to the moody lighting of the secret base’s interior, every frame is jaw-droppingly gorgeous. And that’s before the expert special effects shots near the film’s conclusion. Without spoiling anything, the abduction and eventual experimentation gives Nick and Jonah some wicked abilities. The level of CG work during these moments almost equal the best of what Weta and Industrial Light & Magic has to offer. Significantly, this is all done on what’s supposedly a $2 million budget.

It’s clear by the summer’s end, The Signal may be the sleeper hit of the film season. Expect many who view the film to dissect every frame and ounce of dialogue while others will just delight in how beautiful everything looks. Eubank has done it again, created sci-fi for the hyper intelligent who want just as much puzzle solving in their plot as visual splendor.