While being housebound, there is one activity that I miss the most, going to the movies. While I can easily stream a film or watch a DVD in the comfort of my room, there is no substitute for experiencing it on the big screen. And yes, there are more important things to worry about with the virus going around, but smaller independent theaters will be greatly affected. Unlike other businesses, smaller theaters have difficulty adapting to this changing market. Bigger chains can probably take more of the hit, but niche and independent theaters cannot.

I can still remember in 2008 when the Robinson Film Center opened in my hometown of Shreveport, Louisiana. Granted I was a bit too young to see most of the movies; my dad would take me to the ones that were more suited for me. As a result, the theater struck a chord with me and installed a passion for film. I would not be pursuing my graduate degree or even a career without the programming and summer film classes offered by the Robinson Film Center. Whenever I visit back home, it feels like I am seeing an old friend as soon as I walk through its door.

During my time in undergrad, I would drive as far as an hour and a half to Nashville for the Belcourt to see a movie. I remember seeing Evil Dead II, Akira, the Suspiria remake, and attending a horror writing class at the facility. Many people might not agree with me on the cost of the drive, but every mile was worth it in my opinion. I did not mind waking up earlier and making that drive to Nashville. I would not trade those experiences for the world.

Since moving to Atlanta, I fell in love with the Plaza Theatre. The Plaza, which opened in 1939, has remained open to the present. It remains a cultural anchor to the city and is beloved by many, including myself. Part of my weekend routine was going to the Plaza to see a new film: Colour out of Space, Doctor Sleep, or the director’s cut of Midsommar. It soon became a common occurrence to attend the weekly production of The Rocky Horror Picture Show by the local shadow cast. Even though I have known the Plaza for a few months, it remains close to my heart.

With the virus changing the current landscape, it is important to support not only affected businesses but the arts as well. Some people may not agree that businesses that charge up to fourteen dollars to see a moving picture may not be worth it, the idea of what cinemas stand is worth it. Independent theaters serve as centers of art and dialogue for a community. Not everyone may want to see a cosmic horror film starring Nicholas Cage or a dark comedy where two girls plan on killing one of their fathers, it allows the community to be exposed and have access to films that the larger complexes might not show. So please, do not forget about the arts in these times of trouble and please provide support to your local independent theater by donating money, buying gift passes to the future, or get a membership to it. Please support these venues in anyway you can. You cannot kill film, but do not let independent theaters become graveyards in the wake.

It is almost impossible to discuss the current stage of horror without mentioning the names of James Wan and Leigh Whannell. The pair made quite the splash in the early 2000s with the film Saw and exploded into the mainstream as a result. Wan and Whannell would further cement their names in franchises like Insidious, The Conjuring, Furious 7, and Aquaman. This does not include solo films like Cooties or Upgrade or Dead Silence. Out of all of the films, Dead Silence is the most interesting since it serves as the transition between Saw and Insidious. With Wan preparing for Malignant and Whannell releasing The Invisible Man this week, there is no better time to revisit this project.

Released in 2007, Dead Silence follows Jamie Ashen, a recent widow who returns home to Raven’s Fair after his girlfriend is murdered by the ghost of Mary Shaw. At Raven’s Fair, the town has died down and the residents are haunted by the legacy of Shaw and refuse to acknowledge her existence. Along the way, he must deal with his father and step-mother, a determined detective, and the other town folks while he solves the mystery of Shaw and his girlfriend’s death.

First and foremost, I love the production design of this film. From the gothic sets, to the architecture of Raven’s Fair Shaw’s theatre on the water, and the Ashen’s home, the film is entrenched into this atmosphere. Wan and Whannell have a strong track record for this aspect in their works and makes the world transcend the screen. The next highlight are the dolls. I love a good creepy doll and this film had one hundred and one of them. You will get your money’s worth if you enjoy this type of horror. Along those lines, the highlight performance of the film was Donnie Wahlberg as Detective Jim Lipton. Wahlberg’s character existed as this perfect mix of intensity switching between dry shaving his facial and acting antagonistically towards Jamie. I could heap praises on this portrayal and how much fun it was watching him.

One of the weaker aspects of the film was the CGI used. Granted that digital effects can age quickly, even more so after thirteen years, it did not work well with the final product. One such instance occurred during the climax where Mary’s face pops out of the doll case. The effect took me out of the film and it did not positively serve the story. Along those lines, Mary’s face contorts out of a doll in a putty type manner. I would assume this is not the effect Wan was going for. I enjoyed the story, but the twist ending felt cliched. I will not spoil anything, but I wish that the pair would have done something different. Dead Silence is an interesting film that separates Wan and Whannell from the franchise that broke them into the industry and the more ambitious projects they would later pursue.