Let Her Out not only offers one of the creepier film posters we have seen in some time, but it also provides the goods in terms of satisfying the genre audience to which the film was intended.
Meet Helen (Alanna LeVierge). Helen, on the surface, is an average good looking woman who works as a bike courier in the city. Helen seems stable enough with equal parts recklessness and shyness evening out her character. But Helen’s past is hardly what we would consider typical. Her mother (Brooke Henderson) was a prostitute who inadvertently gets pregnant and then tries to terminate the pregnancy with nothing but her will to end a life and a pair of scissors in a sleazy hotel. Her mother doesn’t survive the traumatic ordeal and she loses the a baby.
Things get truly interesting when Helen experiences a traumatic road accident that results in hallucinations and black-outs that torment our protagonist. Helen later discovers that she was in fact a twin and that she absorbed her sibling in the womb resulting in a benign growth. The accident triggers the awakening of the darker side of Helen’s now split personality with actions inclined by her evil twin. This becomes all-too-much-too-handle for Helen’s best friend, Molly (Nina Kiri) and her boyfriend (Adam Christie).
The meat of the film resides in Helen’s dealing with her “vanished twin” and the moods, feelings and actions that take place having to deal with multiple characters inside a single body. And it’s while diving into this Jekyll vs. Hyde territory that the film has its brightest (and darkest) moments. Alanna LeVierge is perfectly cast in the lead role(s) and her slide into madness is engrossing and powerful.
Some of the character act/react in manners which had us scratching our heads just a tad, but for the most part, we thought that Cody Calahan’s script with partner Adam Seybold, was intriguing enough to keep the needle on the right side of the recommendation meter.
Calahan’s last effort, Antisocial, was undoubtedly horror. Let Her Out is more thriller than horror. There are some jolt moments, but for the most part things are grounded. The best comparisons might be DePalma’s Raising Cain or Romero’s The Dark Half.
Comparisons aside, Let Her Out is worthy of our attention. It stands on its own ground as a developing thriller and can only add a feather to Calahan’s early feather cap.