With high-quality horror movies like Get Out earlier this year and total shitfests like Wish Upon infecting this summer, this movie got a bit lost in the shuffle. Now that it’s been released on Netflix, I’m here to tell you whether or not it’s worth your time. This independent horror thriller from Jeremy Gillespie and Steven Kostanski premiered at the Alamo Drafthouse’s Fantastic Fest before getting a small release of only 50 theaters on April 7th, 2017, doubling its tiny $82,000 budget. The film was a passion project for the directors on Indiegogo where they raised all of the funds. Eventually, Jonathan Bronfman, one of the executive producers for the film The VVitch, discovered it and brought it to DFilms to be distributed. The 90-minute plot follows a policeman who brings a dying man into a secluded hospital in the middle of the night. The staff and patients inside soon realize that they are surrounded by a group of hooded cultists who will not let them leave. Couple that with some truly weird creatures hidden within the hospital itself, and now we have ourselves a big thrill ride. This is clearly an homage to horror films from the 1980’s, specifically the filmography of John Carpenter, Wes Craven, and David Cronenberg. And honestly, that is my favorite decade of horror movies, as each one that came out was perfect in just about every aspect. It also seems to take some inspiration from the works of H.P. Lovecraft. In an era where so many horror directors base their films off of something that came out recently, it’s refreshing to see a pair of people who understand modern horror’s roots. David Robert Mitchell’s It Follows from 2015 proved as much. But while The Void starts off strong and promising, it fails to leave any lasting impact or impression. The most obvious way that it pays homage to the masters of the genre is that Gillespie and Kostanski had a big itch for using practical effects. They specifically avoided the use of CGI, and instead decided to rely heavily on practical effects and makeup. The hooded cultists are wearing real robes with triangles painted on them. The characters are confined in real hallways at night time. The monsters they encounter are fused together with makeup and real prosthetics. So much of the movie feels real and gives it this lived-in element. Another way in which the directors pay tribute is through the otherworldly soundtrack by the Canadian band Blitz/Berlin. The tracks are synthesized beats and ambient noise designed to create the tension of a scene. No single track is really that memorable, but it felt right at the moment and pretty fun to listen to. It definitely added to a dripping atmosphere that was so creepy and suspenseful to be sucked into. As far as characters go, they’re all pretty much exactly what you would expect them to be. The only person in the cast with any real work to their name is Ellen Wong, and she had a pretty minor role. No, the real star is Aaron Poole as the everyman cop. He’s the one who’s constantly trying to keep order in this increasingly chaotic situation. You see everything from his point-of-view from the beginning to the twisted conclusion. So you immediately empathize with him, as well as some of the other people stuck in that hospital. But where the film falters is that there is a huge gaping pit in information regarding much of the film’s lore. Where did these hooded cultists come from? What do they truly want out of our protagonists? How long have the monsters been around in our world? The ending doesn’t offer us much help either, as it kind of convolutes these questions into oblivion. “But dude, not everything has to be explained to us. Some things are best left to interpretation by the beholder.” I agree with that sentiment, my fellow cinephiles. But there is a distinct difference between giving us hints of an answer and withholding information to a point where the story begins to make no sense. Both leave people wanting more, but only one of them is actually satisfying. I thought The Maze Runner taught us that already. I will say that it’s nice to know there are still young fans of old-school horror movies and even take inspiration from them. And even though it’s not original by any stretch, it did feel much fresher and fun than a lot of contemporaries in the genre today. But still, The Void is an empty practice in nostalgia-inducing aesthetic and practical special effects. It’s great to watch with your friends at night on the couch at home, but not really worth much of a second viewing. Much less $10-12 in paying a ticket to see it theatrically.