We Can't Leave is an indie slasher with some clever commentary

Courtesy of Dark Star Pictures

Writer/director Mike Lordi's indie slasher We Can't Leave is as much a commentary on indie filmmaking as it is a slasher movie that uses an office setting location effectively to trap its victims that end up on the wrong end of the knife by three masked killers. It's that commentary and the jokes within the film that save it from being another run-of-the-mill and forgettable slasher.

We Can't Leave has a clever set-up. Would-be actors sign up for auditions to star in a slasher movie. They wait in various rooms until their names are called by the mysterious Angus (Ron Lordi), but it turns out that most of them end up dead. However, there is a core cast of characters, at least, including Glen (James Parent), Fay (Grace Allison), Vanessa (Julie Tzivas), and Jack (Freddie Maas). Out of all the characters, Jack has some of the best lines, especially when he goes on a rant about indie filmmaking and the film fest circuit. It's incredibly on the nose, but he also makes a biting commentary about the state of filmmaking.

As for the other characters, unfortunately, most of them are rather unforgettable. Very little distinguishes them from one another and part of this has to do with the script and some of the ham-fisted and even cheesy dialogue. Additionally, for a slasher movie, there's not really a central final girl or anyone worth rooting for. This makes it a bit tough for the audience to stay engaged. The film is also hampered by its poor acting.

That said, along with its commentary on the state of filmmaking and indie horror more broadly, the slasher does make effective use of its setting. The maze of cubicles and hallways traps the characters, until they inevitably bump into three masked killers in black robes and skull masks. It's a familiar everyday setting, but here, it's used rather well to play up the film's title. There are also a few decent kills in the movie, though it's clear this movie didn't have much of a budget. Still, the movie has a high body count by the time the credits roll.

Additionally, everything builds to a wink and nod ending, which again, harkens back to the film's overall commentary on the state of indie filmmaking. The last 10 minutes or so are extremely meta, and while it may not work for everyone, and some may find it too heavy-handed, I enjoyed it because it fits with the film's overall tone. As a whole, the film is a decent watch, and because it's under 90 minutes, it doesn't overstay its welcome. It has an effective setting and smart concept, though it is hamstrung by some wooden acting and poor dialogue.

We Can't Leave hits VOD platforms on May 12.

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