Flying Lotus takes on triple duty in this film—directing, acting, and composing the score, showcasing his deep appreciation for classic science fiction. He expertly builds tension on screen, aided by a soundtrack that will instantly resonate with John Carpenter fans. But before diving into the music, let’s first focus on the film’s direction.
Lotus employs a psychedelic colour palette throughout, creating an atmospheric sense of space. The visuals evoke both calm and apprehension, immersing the audience in neon nightmares and brutal bliss. His use of diverse camera techniques further enhances the film’s unique style. Notably, the fight scenes are shot in a first-person perspective, reminiscent of the underrated 2015 film Hardcore Henry. Gamers will find this FP (First-Person) storytelling familiar, while newcomers can imagine experiencing the action through the protagonist’s eyes—almost like stepping into a virtual reality simulation.
Eiza González commands attention as Riya, a crew member struggles to survive. She crafts a compelling, believable character, drawing the audience into her plight. While there are shades of Sigourney Weaver’s Ripley from the Alien franchise, González makes this role distinctly her own, delivering a performance that lingers long after the credits roll.
The film hinges on the dynamic between Riya and Brion, played by Aaron Paul. Their on-screen chemistry is mesmerizing, making their uneasy alliance both gripping and infectious. As they unravel the mystery of the crew’s fate, a haunting question looms, are they next?
While ASH echoes elements of past sci-fi films, it ultimately feels fresh and original. Two films that immediately came to mind while watching were Event Horizon (1997) and The Thing (1982). While some aspects of ASH are reminiscent of these classics, the film confidently stands on its own. It also carries a strong video game influence, particularly reminiscent of Dead Space, and that’s never a bad thing.
Now, back to the score, and what a stunning score it is. Flying Lotus employs synth-heavy rumblings that intensify as tension mounts. The music is ever-present, lulling the audience into a false sense of security before hitting them with waves of sonic ecstasy. As both a composer and director, Flying Lotus proves his brilliance, and if this film is any indication, he’s a creative force who will be around for a long time.
Of course, ASH isn’t a perfect film. The first act takes a slow-burn approach, but once the story hits its stride in the second and third acts, it becomes clear, that this is a sci-fi horror experience that should not be missed.
ASH IN THEATERS MARCH 21, 2025
