Movie Review ~ Out of Darkness

I had too many lights on when I began Out of Darkness the other night. Watching it from home, where even the tiniest of bulbs can innocently ruin the mood of your Z-grade thriller, I knew that to enjoy this Scottish production to the fullest, I had to get it as dark as possible. So, out went the lights, and after a few good whacks to my shins as I made my way back to the couch, I was ready to get started with this stone-cold thriller from first-time feature director Andrew Cumming.

Plunging viewers into a realm rarely explored in modern cinema, Out of Darkness wastes no time setting the tone as it immerses audiences in the eerie and uncharted landscapes of 45,000 years ago. Humanity is in its infancy here, and six early settlers have finally discovered a land of promise after traversing countless barren plains and frozen tundras. Gathered around a campfire, this disparate group comprises found families, cast-offs, and strays seeking a new life, bound together more by necessity than by friendship.

However, their newfound sanctuary is shattered when tragedy strikes: the youngest member, Heron (Luna Mwezi), is snatched away in the dead of night by an unseen creature. Left to navigate the vast darkness without light, Adem (Chuku Modu, Me Before You) must wait until dawn to pursue his son’s trail, only to find it leads into a foreboding black forest. Despite the risks, Adem insists on pressing forward, dragging his companions—including pregnant wife Ave (Iola Evans), second-in-command Geirr (Kit Young, The School for Good and Evil), elder Odal (Arno Lüning), and Beyah (Safia Oakley-Green, She Said), a stray taken in as a potential source of children—deeper into the unknown. Their journey into the woods and surrounding caves unveils horrors unlike anything they’ve ever encountered, posing a deadly threat to them all.

Describing Out of Darkness, previously titled The Origin, as simply a horror film would be selling it short; it’s an acute exploration of human nature and survival, punctuated by moments of genuine terror that brilliantly keep viewers on the edge of their seats. Ruth Greenberg’s screenplay begins hauntingly and evolves into a thought-provoking narrative skillfully guided by Cummings’ grounded direction, which expertly tightens the grip around our senses. To deepen the audience’s immersion into the prehistoric world, the filmmakers even crafted a new language, Tola, with input from linguists and archaeologists.

Selling this new language and the Stone Age setting are six worthy performances, beginning with the powerful Oakley-Green as a woman underestimated by society whose decisive actions ripple through the group’s future. Modu’s work as Adem goes beyond basic Alpha male brute strength.  Though displaying at times abhorrent behavior, there are layers of humanity revealed as he searches for his son, refusing to give up hope along the way.  While Young’s Geirr may be a tad wishy-washy, a more distinct approach could have enhanced the contrast with Oakley-Green’s more compelling line of attack.

Give credit to cinematographer Ben Fordesman (Saint Maud) for shooting the beauty of the Scottish highlands and transforming them into such a chilling backdrop. His vision is critical in engaging the audience in the film’s primordial world. The terrains are beautifully menacing, perfectly complementing the film’s tone. Paolo Pandolpho’s (The Lesson) editing is seamless, ensuring the story maintains its pace and suspense, and the film’s score (composed by Adam Janota Bzowski, The Marsh King’s Daughter) enhances its unusual atmosphere with just the right amount of shiver.

Out of Darkness is a must-see for those captivated by Stone-Age mysteries and the primal fears of our ancestors. Cumming’s spare use of overlayered special effects and a welcome dedicated emphasis on practical work offer a refreshing take to a genre steeped in tradition. In the end, the film leaves a lasting impression by prompting viewers to question humanity’s response to fear and our innate survival instincts. It’s a testament to Cumming’s vision and storytelling ingenuity (he created a language, for goodness sake!) that Out of Darkness succeeds in resonating long after the credits roll, reminding us of our enduring fascination with the unknown and what has preceded us.