Valley of the Dead

A spoiler light review of Valley of the Dead should begin with tone, because Alberto de Toro understands exactly how this horror film ought to feel. Valley of the Dead gains early credibility from Miki Esparbé, whose presence is balanced by the different rhythm of Aura Garrido. The foundation of Valley of the Dead can be stated simply: Months after bloody combats leave behind thousands of dead in the trenches. Within its 1h 41m running time, Valley of the Dead reveals both the benefits and the limits of that disciplined approach.

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Alberto de Toro gives Valley of the Dead a directorial line that is engaging in bursts but unable to maintain the same control from its opening promise to its final movement. The staging of Valley of the Dead is strongest when Alberto de Toro allows motivation to determine pace instead of reversing that priority. Viewed as a complete piece, Valley of the Dead confirms that worthwhile ideas compete with an uneven structure across most of the running time. A tighter version of Valley of the Dead would address how the pace alternates between hurry and drift, yet the surrounding work remains persuasive.

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The plot of Valley of the Dead is built around the uneasy relationship between Months and Jan Lozano. For Miki Esparbé, that relationship gives Valley of the Dead an emotional objective stronger than simple forward motion. The screenplay associated with Jaime Marques lets Captain of the Fifth reshape the direction of Valley of the Dead in stages. Although the treatment of Brigade could be sharper, Valley of the Dead never entirely loses the thread established at the beginning.

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The craft of Valley of the Dead is defined by carefully rationed sound, supported by carefully rationed sound rather than overwhelmed by decoration. Malnazidos, A.I.E. gives Valley of the Dead a production framework in which uneasy framing can remain connected to story. Made from a Spain production context, Valley of the Dead uses setting and design to clarify mood before dialogue has to explain it. The technical finish of Valley of the Dead works because image, sound and editing appear to be serving the same immediate purpose.

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What keeps Valley of the Dead emotionally readable is Miki Esparbé, whose choices establish a consistent point of view. In scenes with Aura Garrido, Valley of the Dead gains tension from two performers refusing to produce the same kind of energy. Luis Callejo contributes a separate rhythm to Valley of the Dead and helps the supporting material feel less purely functional. The direction by Alberto de Toro gives the cast of Valley of the Dead room to connect the quieter beats with the larger ones.

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Valley of the Dead finds additional purpose in its examination of fear, isolation and the moment familiar spaces stop feeling safe. Through the performance of Miki Esparbé, Valley of the Dead makes that examination feel personal before it becomes broadly symbolic. The idea of Months repeatedly returns Valley of the Dead to the cost behind its more visible developments. Alberto de Toro is most persuasive when Valley of the Dead allows the theme to emerge from an uncomfortable choice rather than polished dialogue.

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Valley of the Dead ends as a qualified recommendation, especially for horror viewers who prefer atmosphere to constant shocks. What remains from Valley of the Dead is the relationship between Miki Esparbé, carefully rationed sound and Alberto de Toro's control of mood. The weakness that the pace alternates between hurry and drift narrows the impact of Valley of the Dead without cancelling its better work. On balance, Valley of the Dead gives its intended viewers a distinctive experience rather than a completely anonymous piece of content.