User reviews

Jane (Sarah Hagan ) has been spending the last few weeks (maybe months or years?) of her life stuck in her spacious, but cold Hollywood hills home under the care of nurse Irma (Barbara Crampton). It seems that something happened in Janie's life to force her into seclusion, but Irma feels that, now, enough time has passed for Janie to at least try to go outside and mingle with the rest of the world.

On her first day out, Janie notices a young woman who she becomes enamored with and she begins stalking her and, soon, she's coming in late much to the chagrin of Irma who has to find a way to keep her in line. In typical horror film fashion, things don't go as expected and a few people have to die.

Despite the gorgeous visuals and excellent performances, Sun Choke is a confounding and confusing experience from start to finish. At first, one thinks that perhaps the filmmakers are withholding important information from us to build towards some major revelation or twist at the end, but once the end credits come up, we're just as confused as we were when we first started the film.

Why is Janie cooped up in the house? What happened to her mother? Where's her father? Because we don't know a thing about Janie or her circumstances, it makes it nearly impossible to root for her and she becomes a cardboard cutout. What could have been an interesting story about two very different women becomes an empty spectacle for extreme violence with no answers.

Sun Choke almost feels as if the filmmakers secured a great location and cast and just made it up as they went along.

1/10.

It's slow, boring, totally vague to the very end and I don't see the point of this film at all.

Directed by Ben Cresciman,Sun Choke begins by introducing the viewer into the life of Janie (Sarah Hagan). Janie is recovering from a violent psychotic breakdown. Each day, her lifelong nanny, Irma (Barbara Crampton), subjects Janie to a bizarre holistic health regime. Eventually, Irma, who is in contact with Janie's absent father, considers Janie well enough to leave the house. This first excursion onto the streets of LA results in Janie beginning an obsession with Savanna (Sara Malakul Lane). As this obsession progresses, deepens and Janie finally connects with Savanna, the mental calmness and control brought about by the strict, holistic regime is undone.

However, this is just the bare bones of a film that is arguably open to interpretation. For instance, although the time-frame of Sun Choke appears to be linear, I wonder if this is the case. The viewers are shown what appear to be flashbacks, or memories, but these are shown in a haphazard fashion, often with little or no sound. Muted shots of Janie's father illuminated by bright sunlight appear, as do darkly lit scenes of a distressed, apparently psychotic, Janie. Once she begins to leave the home, Janie's apparent inability to feel empathy for other human beings, and her resentment at the strict brutality of the regime she's subjected to, begin to surface. Yet, I personally feel that the route to unravelling the time-line and story of Sun Choke lie in two factors that were mentioned, but not dwelt upon, during the course of the film.

Firstly there is the absent father. The authoritative figure in Sun Choke is Irma and it is her regime which dominates and structures Janie's home environment. There is also the question of what the relationship was between Janie's mother and Irma the nanny, also how this influences the relationship between Irma and Janie. Then, when Janie's obsession with Savanna arises, so does the question of nature over nurture. But, this is just my thoughts on a film which is layered, and definitely more complex, than the bare narrative bones suggest.

Cinematically Sun Choke is a triumph on a big screen. The manner in which light is used throughout, results in some beautiful shots that linger in the mind. Editing is slick and efficient meaning that, despite the sudden flashbacks and apparent memory recalls, the flow of the film isn't disrupted. Somehow, the combination of lighting, beautifully staged sets and Irma's calm voice, seduces the viewer into accepting her role as carer, into accepting the simple, almost unstructured, story that is there for viewing with immediacy.

There was one scene where I felt the director should have held back, as what the viewer is exposed to serves to detract from the impact of the film's final section. I personally felt the scene could have ended slightly earlier, as the viewer knows what is about to happen. I wonder if here the director was trying to appeal to a bigger market than a psychological drama alone would engage. There is a manner of horror in Sun Choke, but it's insidious and deserves to remain so. From my point of view, the scene in question spoilt the ambiance of the film – it was out of kilter.

Sarah Hagan's performance as Janie is superb. She gives a very powerful depiction of a person totally unable to relate normally with other human beings. Even so, Janie isn't a character you can completely turn away from. I found I had some level of understanding for her frustration at being subjugated by the regime she was subjected to. Savanna is the perfect foil to measure Janie against. Sara Malakul Lane does well in this role. She underplays the character which serves to emphasise her normality. But by far the most chilling performance is that given by Barbara Crampton. Her interpretation of Irma is well judged and effective.

Sun Choke is arguably an Art House film. It is low budget, visually stunning to watch, and contains aspects of social realism. The lack of clarity in the narrative structure will be an issue for some, as there is no clear beginning, middle or end. The audience is presented with a form of cause and effect visualised as actions and consequences. Also, it is for the viewer to determine a pathway through the visual imagery Sun Choke presents, also to unravel the motives contained within the actions of its key players. A film of this nature will either engage you, or it will not. There is no room for middle ground here.

A confused and desperate attempt at an art house or psychological thriller. A complete mess. My only reaction is: GET ME OUT OF HERE..as I watched the ravings and lunacy of the writer and director come to life on the screen. This movie would have been better off remaining in someone's fevered dreams than shown on the public stage. I understood what was going on but found it trite, pretentious and more than a little outre. If shock was the aim, it did not succeed.

The gore was out of control in a way that did not suit the subject. Also what's with the videotapes of her childhood and the "memories" of her breech birth. I suggest you watch Dogtooth instead--a deep and commanding approach to similar subjects

Sun Choke is an unusual but solid film. It's not especially original but especially with the strong performances of the two leads it's different enough in presentation that it's not a boring watch.

So why am I writing a review? To express my bewilderment that there are multiple comparisons in other reviews to the Greek film Dogtooth. I had to stretch my brain to near breaking to realize, "Oh yes, there is one tiny aspect of similarity, but even that utterly marginal plot point falls under another few seconds of scrutiny." Anyone comparing these two films: A, hasn't seen Dogtooth; B, hasn't seen Sun Choke; C, saw both but was too busy shopping on Amazon Prime to notice what was happening during either film.

For what it's worth, I'm one of the sad minority who thought Dogtooth was not a masterpiece. Interesting premises, boring results. Maybe I'm just not intellectual enough. Of the two films, Sun Choke is the more fleshed-out and for most viewers will likely be the more enjoyable. Watch Dogtooth if you want a bunch of random ideas that are never really built into any kind of thesis, which I'm sure is more enjoyable if you're not interested in the writer's or director's opinions on their own themes. It's an utter Rorschach test of a film. While far from typical, Sun Choke is much more traditional in terms of plot (of which Dogtooth has almost none) and character development (of which Dogtooth is completely devoid)

Gratuitous sex scenes, gratuitous (female as per usual) nudity, close-up gory blood and violence. All those predictable clichés and for what? A story about a mental patient with a weird Auntie. No real twists or plot and plenty of things that don't add up or make sense and are never explained.

This movie was actually pretty incredible. It calls your attention using very little, leaving you to decide what's reality and what isn't. It's a successful movie - well and cryptically written, gorgeous and intimate cinematography, and a strange and daring story that is pretty hard to watch at times.

I definitely enjoyed what this movie brought, how it gives us enough to estimate who this protagonist is - I'm not going to give anything away, but really what this movie ends up being is an inside to someone's personal hell. It's sad, dark, and even terrifying. Really. It's terrifying, it's expressive, it's raw. Doesn't hold off - and nothing, to me in the least, feels contrived. It all happens for a reason, whether it's really happening or not. It has some really powerful images that stick with you after viewing, things that make you think and wonder.

I really recommend this film for indie lovers and for those who want to see something really dark and really psychological. The acting is great, and overall it's a beautiful and personal film about what this girl is going through and why. I ended up loving this film. See it for yourself. It's DEFINITELY not for everyone, with graphic nudity, violence, so on so forth, but it's all worth while. Great film that no one's heard of. Super intense, but has me thinking for a while after watching it - and planning another rewatch soon.

I had to "steal" this summary line from that one other review on IMDb (at this time), because it hits the nail on the head. Actually the review is very thorough overall, but this tag alone should be an indication if the movie itself is something you want to watch. Even without that tag line I went to watch it, not knowing anything except the title of the movie itself of course.

And while it's slow moving/brewing, which might not be most people cup of tea, I have to say that it fits the movie and the story. There is incidental nudity and there is weirdness abound too. Characters behavior may not be easily explained under "normal" circumstances, but the movie is not describing normal at all. This gets clear pretty early on. Does it still sound like something you want to watch? It's not easy let me tell you that. Especially when our main character gets "schooled".

There are a couple of themes here, rebellion, growing up, exploring and more and all packed in a psycho horror setting that will either feel "delightful" or nauseating, depending on your viewing habits. It's just a movie, so you'll either like the art created or loathe it

Plus budgeting for the project... in order for the writer/ director to make this film and then (rightfully) never be asked to work in the entertainment industry ever again.

Truly awful, senseless, self indulgent garbage. Four years at an Ivy League film school and this talentless piece of hyper-sexualized, tweaked out fever dream was the result. I have bruises all over my forehead from watching this. My palm is swollen and red. My knuckles are bruised. There are holes in my drywall.

One of the worst films ever made. How the marketing team convinced the others to write all these reviews, I will never know. Perhaps viewing the film before reviewing it wasn't a requirement.

I request that the runtime of this film be reinstalled at the end of my life, when I will be needing It the most.

The villain in this movie is amongst one of the greats, and relatable if you have had a similar controlling family, but health food and yoga does not fit (to the point it actually feels like anti-health propaganda).

A real "gingerbread-house lady" (empty nest syndrome) ensures their young cannot be fit and fight for themselves, and therefore forever needs their parent. This way the parent can always have control over the child.

So due to the majority of the film being based on this confusion of pro-health but narcissistic control, nothing makes sense. It would be much more "in tune" if the mother fed her trash and made an excuse each time in order to keep her down.

Acting is OK but motion is stopped too often.

Sometimes it's nice to come across a movie that is outwardly vague about its story, and that truly, meaningfully lays out a mystery to unravel for the viewers. The only certainties we're fed to start with are the quietly searing electronic score of Bryan Hollon, lending to the building disquiet; the crisp cinematography and high production values, meeting the best indie standards of the 2010s; and the intimations of a relationship between Janie and Irma that at the outset somewhat recalls the manipulative, infantilizing, subtly destructive dynamics of the family in Yorgos Lanthimos' 'Dogtooth.' In the first act filmmaker Ben Cresciman teases us with a lot of intriguing tidbits that have no apparent connectivity and definitely no clarity, begging the question of what exactly is going on; bolstered by the music, there's a pensive intensity even early on - breaking through the overall soft tone - that helps to cement a fundamental psychological element to the picture. This sense is also borne out through Jason Jones' smart editing, sharp writing, Cresciman's smart, mindful direction, and not least in the nuanced yet fierce, potent acting of Sarah Hagan and Barbara Crampton. Even approaching the halfway mark 'Sun choke' has actually revealed very little, and one must either admire the restraint or lament the slothfulness.

With that said, it's at that halfway point that the film takes an astonishingly darker turn, making the prior sinister vibes seem like child's play. The mystery remains to be more fully unveiled, but with the silent insidiousness of a knife in the dark the feature demonstrates a major foundation of concrete horror. When it comes to that question of restraint or slothfulness, I'm happy to say I lean toward the former perspective; in most every way this built as a drama, and a mystery, but bent toward the most grim of genre flavors. While less common in the grand scheme of things, a good horror-drama can be just as impactful and captivating as any more plainly violent fare, if not more so given the underhanded tack, and I think that's just what Cresciman achieves here. I'm not going to sit here and say that I completely understand what the filmmaker was doing, nor that the sum total is perfect; in the back end it rather seems to me that this leans so heavily into lofty, artistic grandiosity and narrative obfuscation that it forgets the import of core underlying substance. This is an art film, to be honest, as much as anything else, and when all is said and done there are few definitive answers for all that is laid before us, or even answers to be readily interpreted.

Yet the cast is plainly excellent, also including Sara Malakul Lane alongside Hagan and Crampton, and everything from sound design to art direction is terrific. The stunts and effects are great. Whatever one takes away from the narrative at large it's engrossing and ferocious in and of itself, with superb scene writing that maybe does even more than the murky plot to anchor the proceedings and all contributions in turn. I do wish that I had something more firm to latch onto in terms of the story, and Cresciman's intent, but even at that I really do like 'Sun choke,' from mystification to ghastliness and back again. And with all that said, I can understand why this hasn't seemingly been met with a more significant reception; it exists on a level of distribution that struggles to attract attention in the first place, and even for as ugly and gripping as the tale gets as we see it, there's an aspect of uncareful construction overall - the foible of meticulously calculating every odd and end, but somewhat neglecting the center in the process. I'm glad for those who get more out of this than I do; at the same time, I wonder if I'm not being too rosy in my assessment. One way or another this won't appeal to all, and one should be cognizant of the tenor it adopts, but if you are open to the low-key and slightly more abstruse side of horror cinema, 'Sun choke' is worth checking out if you have the chance.

Sun Choke (2015) follows a woman who suffers a severe mental break and is trying to get herself on track when she becomes obsessed with a stranger. This was a really dull film, it started off intriguing but didn't go anywhere and all the atmosphere built up was completely wasted.

The cinematography was alright and looked professional, but a lot of it felt way too safe. There were a lot of extreme close-ups and I liked the handheld camerawork but the colour palettes were too bland and I feel like they could've experimented with colours more.

The best part of this film by far was the sound design and the score, which built up a good atmosphere. The sound design was incredibly ominous and invoked a feeling of unease while watching. This was a super interesting film to watch with earphones as the score makes use of stereo sound very well.

I've heard a lot of people praising the performances in this film, but unfortunately I highly disagree. The performances were poor and the line delivery just felt odd, but not in a positive way. I specifically wasn't a fan of Sarah Hagan in this film, which is a shame because I know she's had a lot of praise for this role. Also, I feel there was no chemistry between the leads and I just didn't care for either of them.

This movie was incredibly slow paced to say it had a short run time, and I ended up just feeling super bored. It wasn't entertaining and dragged a lot for me, I feel the movie had no real direction and no driving force which lead to a dull climax.

Sun Choke needs some time it is a slow burn . This film works as a character study of in large part because of how committed actress Sarah Hagan is to playing 'Janie's' derangement. It is never really made clear why 'Janie' is a troubled soul suffering from chronic mental disorder with abnormal violent social behavior. 'Sun Choke' has excellent acting from all characters. The film all things add up to the creation of one evocative, trippy film that is sure to run chills down your spine. 'Sun Choke' offers a unique experience that'll leave you surprised and intrigued. Make note of the 105:39 minute mark. The film really gets its (freak) on

This film cracks the puzzle of making a dreamy, surreal and non-chronological narrative engaging. In this regard it uses similar devices as Mulholland Drive and Repulsion - yet it is far from a simple clone. Most importantly it has convincing portrayals of the three significant protagonists (great acting by all 3) and a winning combination of setting and soundtrack. At a deeper level, it successfully conveys the twisted but coherent logic employed by the lead as she struggles to attain a sense of security. The audience is encouraged not to be sympathetic but cognisant of the thinking which leads Janie down her narrative path.

For me at least, this film is a masterpiece of extreme character study and psych intrigue extracted from a very minimal budget, but parlayed into a brilliantly visual and emotional experience.

It would be redundant to replicate the detailed description that has been more than aptly articulated by previous reviewers, so I'll simply limit my commentary to a general sense of quality of experience, and in that context, this production deserves high marks.

Yes, some of the editing can seem to be a bit jagged, like a puzzle who's pieces snap into place at quasi random moments, but still leave enough holes to require a fair amount of contemplation for the viewer to complete the intended picture.

But that's part of the beauty of this production, in that it absolutely pulls you in, requiring an attention to detail without becoming a tedious exercise for comprehension.

Sarah Hagan matches her character as Janie perfectly. If anything, she makes the experience uniquely hers, as it would be difficult to imagine anyone else being able to capture the essence of Janie with such depth and precision.

The content itself is disturbing, make no doubt about that.

This film is certainly not for everyone. But for those who can appreciate this genre of story and character study, it's a superb expression of the artform.

Firstly, if you: Considered Lynch's "Lost Highway" / "Mulholland Drive" or Lyne's "9 ½ Weeks" to be pointless, plot less & boring drivel in any way; Prefer reading cereal boxes over poetry any day; Think that anything not plot driven is pretentious;

Then: This one's not for you. Move on and spare us from yet another barrage of unwarranted "Boring" and "Goes Nowhere" posts and reviews identical to all those that litter every independent film's page.

For the more adventurous viewer: Ben Cresciman's "Sun Choke" has absolutely no clear-cut links with the aforementioned films—they're the better-known examples that readily came to mind--but if you enjoyed some aspects of those, then the story-telling mode employed here will definitely not feel alien to you or be an obstacle to the film's many appealing qualities.

And no, being a fan of poetry is not necessary, but keep in mind that this film, like a fine poem, demands a certain degree of patience, receptivity, and abandon if the viewer is to reflect any meaning upon the prudently crafted images that play upon our senses; if anything, this film positively drips sensuality, though one that never draws its potency from sexuality/eroticism albeit the actual, eye-appealing nudity, which there's plenty of.

Of course, composition and framing are a big part of Cresciman's success in that respect, but it is in fact, contrary to most who've dealt with such a subject, the use of a highly-curtailed palette that moves heavily towards light and limited contrasts, rather than darkness, that establishes him as someone with a clear intent and a firm control over his medium; this alone is a refreshing change for the genre. Combine this with remarkable, understated performances and the overall effect hypnotizes as it seeks to quietly unsettle. Barbara Crampton discreetly gives life to a character none of us would want in our lives even if no one can satisfactorily explain why, and images of Sarah Hagan, who plays the unstable lead hauntingly, will surely linger in your mind for some time.

Despite all that, I don't entirely feel comfortable limiting Sun Choke's scope to art house or character study. Certainly, exploration is a big part of it, but not in any narrowly definable way; suggesting it's an examination of lunacy and control dynamics (as seen through the interplay of three women) Is entirely accurate, but also feels deeply lacking. Still, even if blurred, narrative and genre are patently excluded from this examination. So, why have I avoided discussing the story line up to now?

Well, at this point, I'm assuming you've already read at least one synopsis and my goal isn't to tell you the story—the film does that— but to help you decide whether you should invest time and attention watching it. For that reason, and the fact that I sincerely believe that the story presented is so dull it doesn't even warrant mention, I strongly encourage anyone who's not put off by anything I've mentioned so far to forgo any attempts to learn more re the plot until you've given it at least one view.

Despite what's being said, all the story elements are there; we don't need anything more. Sure, our mind, preoccupied with the details, seeks answers and is left unsatisfied. That's our problem, not the filmmaker's, for the story is that banal and can't be improved with details. Accept it. In a way, it's similar to Aronofsky's "Requiem for a Dream", which presented nothing but the clichés associated with an already overdone subject,but did so by focusing on a slew of fresh technical aspects, the sum of which gave us something that felt so very new.

Here, through Cresciman's work, we're granted a highly intimate and revealing view of insanity, one that lets us access new feelings, but only if the viewer willingly accepts that uncertainty vis-à-vis reality along with a marked irrationality (i.e. unjustifiability of actions) are part and parcel of psychosis… Isn't madness to absolutely want to apply logic where none can be had?

Nonetheless, those desperately seeking to piece together, and cling to, some deep, hidden meaning have plenty to work with—all the elements are there for that as well—though I suspect you'll never find satisfaction if taking that route.

Is "Sun Choke" the result a fluke, or does it herald a new, bona fide artistic force? I, for one, am anxiously looking forward to Ben Cresciman's next project.