Trash Or Treasure: Ink (2009)

Looks good, had nice ideas, but decided to be boring.

“One person’s Trash is another person’s Treasure”, but with so many movies out there how will you ever know which is which? Well, just follow the Raggedyman as he uses his extensive experience of watching practically anything that crosses his path to sieve through the offbeat, the obscure, and the just plain odd so you don’t have to. Cult classics, underground favourites, forgotten wonders, and new discoveries are all put to the test to find out if they are Trash or Treasure.

Ink is a 2009 indie film; written, directed, executive produced, composed, and edited by Jamin Winans. It’s billed as “a Wonderful Life meets Sin City” and a “high-concept visual thriller”, and is a passion project that tells a story about a mysterious creature called Ink, two mysterious forces battling for the fate of a girl, and the redemption of an ill-fated father. This $250,000 budget film has managed to gain 86 ten-star reviews on since it’s release, and for the life of me I can’t work out why, because it’s pompous, dull and irredeemable Trash. I appreciate that it’s harsh to cut straight to the final score, but given how bloated and overlong the film was, I felt I had to restore some kind of cosmic balance. Maybe if you value the ratings given out here then the time saved not reading the rest of the review could make up for the time wasted watching the film. If not, here’s some nice things before the meat of it’s problems.

Smile, and the world still runs away screaming from you

The basic ideas of the film are, it has to be said, quite satisfactory. There is a force of good, who appear to inhabit a parallel universe to ours that is modelled on early 2k psytrance music videos, and there are forces of evil who are gimped-up versions of The Agents in The Matrix. They run around unseen through an Anywhere, USA-city and have some reasonably performed fights/dance offs with each other over special people – in this case, a little girl called Emma.

You try fighting the forces of evil whilst pilled off your nut

Emma has been kidnapped by Ink, a hideous/bald-and-big-nosed person in fantasy monster tramp-rags. Ink wants to take her to the bad people, as they’ll make him one of them, so there we get to follow their journey through the dreamscape city. At the same time, the girl’s dad is having a hell of a time at work and we get flashbacks to his difficult upbringing, him developing into an awful person, and his current “pretty stressful, but full of money” life.

It starts well, with an air of mystery, some really nice visual direction and good build-up sequences. It’s got an intriguing feel to it, cribbing off of late 90s through to early 2ks urban-fantasy well for its limited budget. It’s not clear what’s going on, but it manages to make you think it could be a fun and exciting ride and that the lack of detail or explanation is enthralling. But then the plot twist is made clear at the 40-minute mark and you suddenly realise there is another hour to go with bugger all to look forward to.

Steampunk dance army, always ready to cha-cha!

After that point, the problems become incredibly clear and you feel your time is being wasted. The airy, fleeting feel of the characters isn’t due to aetherial narrative, it’s because none of them get developed beyond their costume and props. Explanations aren’t given because that would have taken effort, and the Winans clearly thought that keeping things boringly vague carried some sort of weight to it. More unneeded characters, and the world’s most pointless subplot, get thrown in to stall the inevitable for another 50 minutes whilst you look less and less politely at your watch.

“I add 10 minutes to the film, and that’s it”

The film clearly thinks it’s substantial, surreal and sublime, because it can throw around a couple of quite freaky moments and then film everything else with a grey wash filter. The stakes are kind of established for the girl and the father, but it’s never explained why so many people are involved in changing the outcome and that gets papered over with concerned looks and lots of running around. The father’s story is pretty generic, so that gets beefed up with copy editing and grainy filters. There needs to be a final moment of tension, and thus that gets suddenly pulled out of the scripts arse.

Headlight eyes really cut down on electricity bills.

What the movie tried to do was, truth be told, kind of cool. Whilst very underdeveloped, there were some good ideas threatening to come to fruition. There were even a few good characters itching to break free from their two-line motivations. But that hope, and all the goodwill of the first act, got pissed away by never bothering to really go anywhere or do anything solid. It’s a vague plot, with a vague background, about vague people doing vague things. It looks nice, but not 107 minutes nice, and it drags to the point of exhaustion.

“No one cares that I left the gas on!”

Obviously, some people found something deep in this, possibly by using it as the world’s most diluted watercolour Rorschach test. The elements are fuzzily-defined enough that you can find something to relate to if you want to (for example, several of the characters have a head) and it’s pleading to be seen as having depth to it so a viewer could happily wax egos over it. It’s also obviously an idea that Jamin had in their head for ages, and put into the world unfettered by restraints. It’s just that it’s probably one they had when they were 15 years olf and never showed to anyone they thought would encourage them to do a couple of rewrites.

The Raggedyman

Enjoy the article? Want to go further into the world of Trash or Treasure? Then check out the complete archive of reviews right now on our Trash or Treasure archive.
You are also most welcome to join us for the Trash or Treasure watch party, every Thursday at 8pm on the Bunkzailla Discord Server.

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