The Fourth Kind

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Nome, Alaska, October 2000: Dr. Abigail Tyler (Milla Jovovich) is a psychologist ministering to the citizens of Nome, a secluded Alaskan town which is only accessible by air. Still mourning the recent death of her husband, Tyler spends her days dealing with an apparent epidemic of insomnia amongst the town's citizens - but as Tyler delves deeper into the nature of her patient's sleep-related maladies, she begins to notice a disturbing number of similarities and correlations between their stories. Why are they all waking at 3:33am? And why are they all seeing owls outside their windows? As time draws on, she enlists the aid of colleague Dr. Abel Compos (Elias Koteas) and slowly begins piecing together fragments of information which suggest a nightmarish truth.

I'll admit it, "The Fourth Kind" caught me completely off guard; I rented it expecting a mildly entertaining mid-budget thriller fashioned after the likes of The X-Files: The Complete Collector's Edition and Steven Spielberg Presents Taken and instead experienced one of the most profoundly scary films that I've seen in a long time. This is no small praise when you consider that I've read a fair number of books and seen a fair number of films and TV shows about UFOs, aliens and abduction phenomena and am completely skeptical about the whole thing (the hard cold figures of Drake's equation negates the possibility of alien contact as far as I'm concerned).

While it's true that this film works through every Whitley Strieberesque cliché in the abduction playbook (screen memories, subliminally buried recollections accessible only through hypnosis, white lights and, hell, even some allusions to the work of Erich Von Daniken), director Olatunde Osunsami innovatively uses a gamut of structural, editing, split-screen and soundtrack techniques in order to draw the viewer into a tapestry of "dramatically reconstructed events" which appear alongside "archival footage" on which the reconstruction is allegedly based; the net effect of this tinkering with 'levels of reality' is a palpably eerie sense of authenticity which pervades the film and only serves to reinforce the chills that materialise. Situations and clichés that you've seen a million times before in a million different movies and TV shows are suddenly thrown into stark relief and become deeply frightening again.

Originally, I was only intending to give this film four stars, but it really did get into my head (and impress me with it's innovative structuring) and, frankly, it takes a lot to unnerve and impress me these days, so it gets a round five stars. Seriously, this a film which is both vastly scarier than (and vastly superior too) the massively over-hyped and deeply pedestrian Paranormal Activity as well as virtually every other horror film in recent years.

...And if you consider yourself a jaded old cynic and think that this film can't get into your head, I issue you the following challenge - watch this alone, late at night, with the lights out and the sound way up...and then discover what an interesting prospect going to sleep on your own in the dark becomes.

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