SESSION 9
Session
9
is a psychological thriller that is a considerable way off of the mainstream
“horror” track of films that have come out around the time this film has.
When a small asbestos removal company begins work on an
abandoned mental institution, we as the audience quickly learn that there may
be more to the stories of each of the workers. Gordon Fleming, the owner of the
hazmat company, takes on the job at the hospital despite his current fragile
relationship with his wife. Mike, Phil, Hank and Jeff, the other crew members,
along with Gordon have just a short time to remove the hazardous materials from
the massive structure. But, when Mike discovers a series of hidden tapes
between a patient and a doctor, the films events begin to take a turn for the
worst. Hank gets attacked one night and doesn’t show up to work the next day,
Gordon tell Phil why he and his wife are having hard times. As the film
progresses in its horrifying state, the audience learns that Gordon actually
killed his wife and child as a result of the voice, Simon, he hears in his
head. As for the crew, things do not get much better than Gordon’s wife.
Session 9
employs a series of twisted story elements to tell the story in an original
way. Using the tapes that Mike listens to as a sub story for the entire film,
the audience undertakes the roles of a doctor in the mental institution – both
listening to the patient and watching the crew members who become increasingly
distant. Also, the film is more than just a gore-ridden horror flick that
slashes any audience that watches. Instead, the film uses the psychological
aspects of the mind, almost literally, to entice the audience into fear.
While the film is most surely a new and original take on
horrifying storytelling – using a lack of gore as a tool to push the film dark
and twisted nature -- I was not overwhelming impressed with the film as a
whole. The film’s pacing is somewhat slow and the ending of the film left a
gaping hole of dissatisfaction for me. Truthfully, I was still trying to piece
together the events of the film upon the conclusion and while they “fit,” the
fitting was rugged and misshapen.