Straight up: this is NOT a good film. However, it is not the worst film you will watch before this pandemic is over... if you can keep watching it. Five minutes in, most viewers, expecting something very different to what this is, will abandon this sometimes painful, often visually interesting film.
Watch it for what it is: a low budget, Canadian film pretending to be American, with unknown actors, from a director who is better known as a producer. If you know what you're going into, it may be worth your time. I like to support Canadian cinema, but The Sanctuary, like so many other 'entry level' Canadian films, suffers from that worst of afflictions - a lack of *genuine* actors. Every single scene looks like a college director's stage play; there are so very many 'look-at-me-acting-like-I-am-frustrated/upset/scared/cold/tired' moments that make this film cringeworthy.
While there are definitely worthy attempts to invite the viewer into these characters' lives - some of the settings are effective and visually fascinating - the terrible makeup and affected acting of the 'old' couple weighs down The Sanctuary's familiar storyline. Unfortunately, you won't care about any of these people - the director has been far too heavy handed with stereotypes and predictable actions and reactions that there is nothing new to see here.
Ultimately, it is the god-awful script that relegates The Sanctuary to what might, possibly, be a fairly decent film school student film. The dialogue raises the question of whether or not the writer has ever actually watched and listened to people interacting before. Absolutely unforgivably bad writing. Robin E. Crozier, please - PLEASE! - do not continue down the screenwriting path; it is not for you. I am sure you have other talents, but writing for film is not one of them. Good luck in any other career.
If you enjoy community theatre and Canadian B-movies, give The Sanctuary a whirl on a rainy afternoon or boring evening. Maybe while you're doing another task.
5 out of 10 for Canadian effort, and the earnestness of John-Riley O'Handley, who - under a practiced director - may have a future in film.
