“Some Shrouds Obscure The End Of The World. “
Phil Joanou’s The Veil isn’t a particularly good movie, though it’s least interesting (and before I begin in earnest I have to mention the cinematography of Steeven Petitteville–according to IMDB and the movie’s credits that’s how his–I assume he’s a he–name is spelled–does great lighting. His work is naturalistic, with lots of contrast between light and shadow, which complements the movie’s bleached-out color palate) and in its own way, quite ambitious–particularly when things go pseudo-Lovecraft.
Both Ti West’s The Sacrament (2013) and The Veil are at heart retellings of the Jonestown massacre, where 909 Americans killed themselves, led by the Rev. Jim Jones (Thomas Jane, in The Veil plays Jim Jacobs–clearly a play on ‘Jim Jones’–like a fanatical Jim Morrison).
The difference being, while West essentially retells the story of the original massacre in the–at the time–present day, Phil Joanou introduces a supernatural element that at least serves to differentiate it from the horrific event that inspired it. And while Robert Ben Garant’s screenplay is a bit dopey, it’s at least novel (and you can’t fault it for a lack of ambition).
As I wrote earlier, the movie itself is interesting, until it falls too deeply into the gyre of horror movie cliches (when things start going to shite people who should know better decide to stick around, as opposed to hightailing it out of there) and people start doing things because the screenplay says that they should, as opposed to any sort of human process of reasoning.
The Veil comes courtesy Blumhouse Tilt, though be careful, because some shrouds obscure the end of the world.