“Cue the soundtrack.” This is the first big design error in the horror flick “The Drowned.” From the very first frames, we are assaulted with an ominous, cacophonous, hodgepodge of sounds, including striking gongs, cat-like cries, and eventually quasi-human voices. Presumably this is to instill a sense of foreboding rather than what it does: instill a sense of irritation and the inability to follow the sparse dialogue.
“Cue the endless drive through tree bounded lanes.” Literally the first 11 minutes of this short film are used up with one of the characters, Eric (Alan Calton – “Blackbird”), driving along with the execrable sound track playing. Tension is presumably built by concentrating on his frowning expression.
He eventually arrives at a spot where he parks next to another car, taking a long art tube from it. He then heads across a field to an isolated house just feet from a sea inlet. He has with him the tube… and a gun.
He searches the house for a woman named Denise (Corrinne Wicks – “You Might Get Lost”). Not finding her, he turned to the beach where he discovers blood at the edge of the water, and, just into the water, a gold bracelet. Strangely, he hides the bracelet by tossing it out into the deeper water.
Soon two more men arrive, Matt, son of Denise (Dominic Vulliamy – “Rules of the Game”), and Paul (Michelangelo Fortuzzi – “Gotteskinder”). We learn that these three, along with Denise stole a valuable painting and were to meet here afterward. Suspicion arises among the men that Denise may have been killed by one of them.
They decide to settle into the house for the night. While eating and drinking, they hear a call for help from the beach. Investigating they find three women, one of whom is not breathing. Eric saves her and the six head to the house.
“Cue the obvious.” Three men, three women. The three women arrived from the sea (they say in a boat that struck a rock and sank). The women are obviously out to seduce the men as soon as they get into the house.
Feature debut director Samuel Clemens – yes they are related – wrote the screenplay as well. Hopefully Mr. Clemens will become more adept at his craft(s) with practice. In addition to the weightless dialogue and pedestrian acting, the story is predictable from the moment the three plus three are brought together. I suppose this could be called a women’s picture, because Pixie, Noe and Opal are in charge from the first.
Clemens (“Surgery”) has captured the sense of isolation and suspicion fairly well, and some of the visuals are arresting, but overall this is a talented amateur’s effort. Like the fishy ladies, there is the hint of something better in the future … we shall see.
Note: The stolen painting is “OKRA” by John William Waterhouse. Karma.
Runtime: One hour, 24 minutes
Availability: Digital release date Oct. 6, 2025
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