Directed, Written and Edited by Oklahoma Ward
IMDb Rotten Tomatoes
It is at this point in the film that I'm left wondering upon the usefulness of the gathered intel on this new “hospitable” planet. Did the relevant parties do any research before deciding this was a great place to relocate or did someone merely “phone it in” with a prayer and their fingers crossed that no one would ever find out? As the movie progresses the viewer is introduced to a network of tunnels and tight spaces that need to be traversed in order to get the “package” away from their pursuer. The camera work is tight, often with short and sharp shots and eerie, all in all brilliantly effective in the enclosed nature of most of the film. Even in low light, oftentimes complete pitch darkness, it leaves the viewer with the same fears as the characters that are confined and attempting to maneuver in such contorted positions that it would bring a troublesome frown to even the most seasoned circus entertainer.
Not since The Descent (a remarkable chunk of celluloid IMO *A Feind favorite especially the director’s cut for the desolate, hopeless ending!) have I witnessed a film with such power that invokes such a feeling of dread, all consuming phobia and near complete uselessness. In direct contrast to other infamous films in the horror genre this feature turns the adage of, “no matter how fast you flee, the antagonist will always get you in the end” on its head. As both prey and predator are in the same cramped predicament facing the same problems which are unraveled in time, inch by inch, at a snail's pace with the words “rush”, “hurry up” and “arriba arriba” (just what Speedy Gonzalez has to do with this review I'll never know) meaning no more than merely don't stop moving and whatever you do don't give up.
One scene in particular is sheer brilliance and near heart breaking in its discouraging nature after so many hurdles have been overcome already. Only one question remains, however, what or whom is her greatest enemy? The creature intent on her demise or her psyche and continued will to carry on due in major part to the shrinking dimensions of her surroundings and the vast unknown that lay ahead. No matter what one may decide, there's no doubt that Tank is a fantastic, well-conceived and excellently written character (promised to be fleshed out more as the Crawl’ trilogy progresses) based on other headstrong survival types in a slew of individuals within cinematic groundbreaking features: Sarah Connor from The Terminator and Sigourney Weaver, Ripley, of the Alien franchise.