Val (2021) Review

Just like its name, comedy horror ‘Val’ is simplistic in nature.

On the run from the police, criminal Fin (Zachary Mooren) breaks into the home of alluring escort Val (Mischa Reeves). Decadently dressed, Val oozes glamour, with her vintage charm perfectly at home in her gothic residence. Though initially Val appears perturbed at the unexpected intrusion, what begins as a seemingly conventional home invasion slowly develops into something more surreal and sinister.

Explaining that her own aversion to a police presence is due to institutional prejudices of her field, Val is oddly amenable to Fin’s company – providing she is allowed to attend to her next client as scheduled.

Disoriented by a mixture of her calm demeanour and a head injury, Fin hides in her lavish dungeon as she greets her next appointment with unusual ease.

The feature from director Aaron Fradkin is a slow burn, focusing on the dialogue and evolving dynamic between the unlikely duo. Val appears oddly comfortable in what should be an alarming situation, somehow finding the time in her terror to undertake a number of outfit changes, and we begin to wonder if the lonely lady is more Kathy Bates than Katherine Hepburn. As the night draws on, Fin finds himself losing control of the situation and the role of captor/captive blurs.

Despite the steady pace, the feature doesn’t feel sluggish and the dramatic setting and use of colour allude to the dynamic visuals of another era of cinema.

The final third of the film has an unusual vibe that reminded me a lot of Tim Burtons ‘Beetlejuice’ – from the vivid colours to the dinner scene that felt like a direct nod to the gothic ghostly tale.

Mischa Reeves is fantastic as the enticingly enigmatic Val and I couldn’t take my eyes from her. With a devilish finale that is both unexpected and rewarding, Val is a dazzling gem of a film that has me craving more.

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