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Sable (2016) Movie Review

Reviewed by Kevin Scott,
MoreHorror.com

Sable (2016)
Written by: Michael Matteo Rossi
Directed by Michael Matteo Rossi
Cast: Ayla Kelly (Sable), Jon Briddell (Landon), Bojesse Christopher (Marco), Rodney Eastman (Andres), Chris Petrovski (Colton), Nicole Alexandra Shipley (Lilian), Tess Kartel (Jennifer)

Some films are almost better experienced with a little bit of background knowledge. I know that goes against the idea of spoilers, but a little information about the plot or the characters can sometimes be the dash of hot sauce in the ramen noodles. It can set it apart from being collectively associated with a particular type of formulaic comfort genre that might have lost its flavor.

Case in point, when “Grabbers’ came out, knowing that being drunk was the only defense against the creatures, made me elevate it above any other contemporary creature flick that I had access to at the time. Then again, there are films, and in particular indie films that can’t be done a complete justice by the promotional material or any prior knowledge. I had checked out the poster art and the trailer on the More Horror site prior to watching Sable, but I only got an inkling of how deep the rabbit hole really went.

Ayla Kelly portrays Sable, the film’s namesake. She’s a young and sensible woman, who happens in to a May-December (Well, Maybe May-September, he’s about my age. I’m being gracious for my own sake) romance with Landon. He’s a former family man whose alcohol addiction has destroyed nearly all of his domestic past. She meets him at a support group meeting, and immediately becomes his ingénue. All looks promising with a prospect of a new life together until an impulsive mistake forces them to stay. The only person that Landon can turn to is Colton, a tatted up amateur drug dealer. At this point, I knew that this film was special. I wasn’t sure who were acquaintances and how. Landon was a drunk, not a drug addict. Also Colton and Sable are around the same age, so that connection seemed more viable. After a tease of few minutes of dialogue, it’s revealed that Colton is Landon’s estranged son. Landon is not in the best position to ask for help since most of Colton’s present situation could possibly be related to his abuse from his alcoholic father. After a strained conversation, Sable mediates a stalemate, and Colton agrees to help.

Landon and Sable need money to disappear for good. Colton happens to knows of a very eccentric and wealthy business magnate that happens to enjoy the company of beautiful women with an extremely uncommon expectation of very little favors in return. That same wealthy man named Andres (the keen eye will spot Rodney Eastman aka Joey from A Nightmare on Elm Street 3 in this role) likes to lavish money upon his female prospects, at least before any Indecent Proposal stuff happens. Landon is irrationally desperate and agrees for Sable to charm Andres at least until they can get enough cash out of him to escape to anonymity. Landon is also irrationally jealous, which makes him all the more volatile when caught between his girlfriend being fancied by a man that could be called superior to him, and his son that arranged the questionable prospect. The rest is an elegantly planned shell game that makes the viewer the unsuspecting mark.

I highly recommend “Sable” if nothing more than how stereotypical characters are distorted to become deceptively unpredictable. In most films, a younger woman is the napalm on the fire of a man’s mid-life crisis, and leaves him feeling more used, stupid, fatter, penniless and older than he did before he met her. Sable is a self-proclaimed “fixer”, and Landon is better for knowing her. Colton is the most deplorable character, but all the while the most sympathetic. It’s hard to hate him because of his troubled childhood, and even harder to sympathize for Landon. However noble or malicious Colton’s intentions are for his father, he could be considered admirably selfless or rightfully vindicated. Landon created the monster.

It doesn’t end there, but you have too much information already. Dysfunctionality is the detonator for all the fallout caused by the failure of the nuclear family and relationships on multiple levels. Everyone ends up desperate, damaged, or both. “Sable” is like driving down a foggy, curvy road with some really low beams. Every turn is visible, but highly suspect and uncertain. It's one of the best films I've seen in a while.

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