Given the choice, I’d rather have a film that ambitiously set out its stall only to stumble, rather than one that played it safe and offers nothing new.

And that is precisely why I will give The Corridor a positive-ish review, despite it having plenty of slip-ups through its 90-minute running time.

A mix of horror, sci-fi and male relationship drama, this is very much in the ‘slow-burn’ category of filmmaking, but offers enough ideas to keep you chewing things over after the end credits roll.

The set-up is all very Stephen King – after an opening sequence that shows a group of friends involved in a tragic series of events, the film jumps forward an unspecified period of time with the same friends getting together for a weekend away in a snowy location.corridor1

In the main the four are there to offer support for pal Tyler (Stephen Chambers), recently released from a spell in a psychiatric clinic.

There are plenty of scenes of male bonding and ribbing, but before too long things take a turn for the weird when Tyler wanders into the woods and comes across a strange portal of sorts that seals him off from the outside world, heightens his senses – and makes his nose bleed.

Naturally the foursome believe Tyler crackers when he recounts his tale, only for the group to investigate and find themselves all within the ever-growing ‘corridor’.

From this moment on the film channels a descent into psychological chaos, with all sorts of desires and mental afflictions hammering away at all concerned.

It all leads to a climax where plenty of blood is spilled – and no-one will emerge unscathed.

As well as an interesting central premise, what really works in The Corridor is the quintet of performances – there is not a dud within the pack and, for a script that is very talky for the first half, that proves a welcome bonus.

The film is obviously a very low-budget affair, but director Evan Kelly (who previously worked on My Little Eye – a film I liked even though a lot hated it) masks that well with some nice location shots and an enclosed atmosphere that keeps the viewer interested.

The downside is that things are never truly explained, and you will sit through a lot of this wondering just what exactly is going on.

Now I am not the type who needs things spoon-fed, but at times when filmmakers opt against giving any reasoning or wrap-up, it feels like a bit of a cop-out.

That can be frustrating, and I see from other reviews that a lot of people gave up on this one.

You certainly need patience, but The Corridor certainly offers food for thought – which is a recommendation in my book.

About The Author

Simon Fitzjohn

Simon is a journalism tutor in London, who also just happens to be a movie fanatic, with a craving for the darker side of cinema. He has written two books, one on the horror films of director Bob Clark (2014) and the other on the history of the character Norman Bates (2015). His third book, on the work of British exploitation director Pete Walker, is due in 2017.