This film is a great example of storytelling and filmmaking that doesn't require big $$ to compel the watcher and create a suspension of disbelief. I was engrossed start to finish. Kudos to the creators, cast and crew.
17 Reviews
Should have been brilliant
kay_rock25 April 2019
This falls into a specific small niche of philosophical "shoulda been" films where there is a brilliant premise spoiled by mediocre-to-bad acting and some horrifically bad writing. I often tend to love them despite their glaring flaws but I also spend the entire time wanting to throw things at the screen.
Dialog. Does nobody teach dialog anymore? This, like many works written by untrained writers, contains a series of monologs rather than any realistic sense of conversation. There are people spouting stiff, unnatural, overwrought and perfectly turned phrases at each other. In the cases where the acting is good (the interrogator) it merely comes off as eye-roll-worthy. In the cases where the acting is mediocre (the suspect) it makes you shake your head sadly. Where the acting is horrific (the partner and the journalist) it makes you physically wince. You never forget that this is WRITING. With every word spoken you are painfully aware you are watching something that was carefully written and edited and rewritten. You can actually feel the writer agonizing over every word, trying to get it just right. It's as if each character pauses before speaking to organize every thought into a neo-Shakespearian soliloquy. Except without the pauses, because we are supposed to believe this nonsense just falls from their tongues like hymns from the lips of angels.
Except for the ending sequences, almost every scene outside of the interrogation room is unnecessary. Every bit of plot that takes place outside the interrogation room can be evoked through the discussion between the only two characters who really matter. Characters such as the reporter are purely there for expository (and as an awkward vehicle for the "reveal") and can be cut completely. The obnoxious partner can fade into the scenery without loss to the core of the film (and he should. And I hope the actor who plays him fades along with him). Both characters are only mildly realized and feel more like interruptions than adding any depth to the film. I don't need to be told repeatedly that the interrogator is good at his job. I see that he is good at his job.
As for the ending, without spoiling, one of the characterizations has been done so many times it is tired and actually detracts from the impact. Later, a confrontation is unnecessary and confusing and changes the tone. It was all just six degrees south of great, and it's a frustrating six degrees. If you are a writer, ask yourself "What is the most important thing that needs to happen here?" Then write those things. Everything else is trying too hard.
To see a brilliant example of a philosophical film centered around an interrogation, watch Una Pura Formalità (A Pure Formality) by Giuseppe Tornatore starring Roman Polanski and Gerard Depardieu. It's an Italian film made in French (strange combo, yes), but make sure you watch with subtitles rather than a dubbed version: it is imperative that you experience the subtle, nuanced acting. Even if you are someone who eschews foreign films, watch it. If you saw and liked The Ascent at all, you will be awed by Tornatore's brilliant work. THIS is writing. This is how you write complex philosophical dialogue that still feels like two people are actually speaking to each other rather than holding court and making hubristic, hyperbolic proclamations. You can see that once all the carefully constructed words are removed, there is room for the emotions that should be filling every inch of this story.
If this were a truly bad film, I probably wouldn't bother reviewing. But it has so much potential I just want to grab the writer and shake some experience into him. Murtagh is obviously smart and imaginative and has something to say. Unfortunately, he still desperately needs to learn how to say it. All writers feel like they were born to their craft, but classes are important even to the best natural talent. I would tell him to study dialog (please, for the love of all that is holy in the universe, learn dialog). Hire an editor, because everyone needs a brilliant editor. Once he does, he will wish he could go back and remake this. Actually, I wish he would. It wouldn't be the first time the film industry had a do-over, and I'd love to see this film properly made.
Dialog. Does nobody teach dialog anymore? This, like many works written by untrained writers, contains a series of monologs rather than any realistic sense of conversation. There are people spouting stiff, unnatural, overwrought and perfectly turned phrases at each other. In the cases where the acting is good (the interrogator) it merely comes off as eye-roll-worthy. In the cases where the acting is mediocre (the suspect) it makes you shake your head sadly. Where the acting is horrific (the partner and the journalist) it makes you physically wince. You never forget that this is WRITING. With every word spoken you are painfully aware you are watching something that was carefully written and edited and rewritten. You can actually feel the writer agonizing over every word, trying to get it just right. It's as if each character pauses before speaking to organize every thought into a neo-Shakespearian soliloquy. Except without the pauses, because we are supposed to believe this nonsense just falls from their tongues like hymns from the lips of angels.
Except for the ending sequences, almost every scene outside of the interrogation room is unnecessary. Every bit of plot that takes place outside the interrogation room can be evoked through the discussion between the only two characters who really matter. Characters such as the reporter are purely there for expository (and as an awkward vehicle for the "reveal") and can be cut completely. The obnoxious partner can fade into the scenery without loss to the core of the film (and he should. And I hope the actor who plays him fades along with him). Both characters are only mildly realized and feel more like interruptions than adding any depth to the film. I don't need to be told repeatedly that the interrogator is good at his job. I see that he is good at his job.
As for the ending, without spoiling, one of the characterizations has been done so many times it is tired and actually detracts from the impact. Later, a confrontation is unnecessary and confusing and changes the tone. It was all just six degrees south of great, and it's a frustrating six degrees. If you are a writer, ask yourself "What is the most important thing that needs to happen here?" Then write those things. Everything else is trying too hard.
To see a brilliant example of a philosophical film centered around an interrogation, watch Una Pura Formalità (A Pure Formality) by Giuseppe Tornatore starring Roman Polanski and Gerard Depardieu. It's an Italian film made in French (strange combo, yes), but make sure you watch with subtitles rather than a dubbed version: it is imperative that you experience the subtle, nuanced acting. Even if you are someone who eschews foreign films, watch it. If you saw and liked The Ascent at all, you will be awed by Tornatore's brilliant work. THIS is writing. This is how you write complex philosophical dialogue that still feels like two people are actually speaking to each other rather than holding court and making hubristic, hyperbolic proclamations. You can see that once all the carefully constructed words are removed, there is room for the emotions that should be filling every inch of this story.
If this were a truly bad film, I probably wouldn't bother reviewing. But it has so much potential I just want to grab the writer and shake some experience into him. Murtagh is obviously smart and imaginative and has something to say. Unfortunately, he still desperately needs to learn how to say it. All writers feel like they were born to their craft, but classes are important even to the best natural talent. I would tell him to study dialog (please, for the love of all that is holy in the universe, learn dialog). Hire an editor, because everyone needs a brilliant editor. Once he does, he will wish he could go back and remake this. Actually, I wish he would. It wouldn't be the first time the film industry had a do-over, and I'd love to see this film properly made.
The Penitent
lavatch29 April 2019
Warning: Spoilers
The film begins with a line from the Gospel of Luke: "I saw Satan fall like lightning from heaven." The story that unfolds is about a fall from grace told in a startling dramatic reversal of roles.
On the surface level, "The Ascent" is about the rise of a good cop, the skilled interrogator Henry Cardenas. His ascent is to the upper echelon of police integrity in the name of justice.
Henry is only one successful interrogation away from setting the record in the L.A. police annals. He aims to accomplish that goal through a long night of questioning a young man who may be Lucifer himself. At the heart of Henry's questioning technique is eliciting remorse during the interrogation. In many ways, he will demonstrate that process in a stunning revelation that ties together past and present.
The homicide suspect named Vincent explains to Henry that his name in the Latin is Vincere, which means to conquer. In the long interrogation scene, the hunter becomes the hunted, the victim becomes the conqueror.
The film turns at a specific moment in the singing of the Irish dirge "Danny Boy." It is at that time that we begin to learn the sad story of "good cop, bad cop." Is Vincent really Lucifer's kid brother? Or, is he the witness who observes Lucifer fall from heaven?
On the surface level, "The Ascent" is about the rise of a good cop, the skilled interrogator Henry Cardenas. His ascent is to the upper echelon of police integrity in the name of justice.
Henry is only one successful interrogation away from setting the record in the L.A. police annals. He aims to accomplish that goal through a long night of questioning a young man who may be Lucifer himself. At the heart of Henry's questioning technique is eliciting remorse during the interrogation. In many ways, he will demonstrate that process in a stunning revelation that ties together past and present.
The homicide suspect named Vincent explains to Henry that his name in the Latin is Vincere, which means to conquer. In the long interrogation scene, the hunter becomes the hunted, the victim becomes the conqueror.
The film turns at a specific moment in the singing of the Irish dirge "Danny Boy." It is at that time that we begin to learn the sad story of "good cop, bad cop." Is Vincent really Lucifer's kid brother? Or, is he the witness who observes Lucifer fall from heaven?
Horrible
bobbycat1353 June 2019
Warning: Spoilers
Horrible and not in a good way. Do NOT fall for the 5-ish Star rating.
The wonder cop is switched places with a wonder bad guy and then you're left wondering who's who? Promising premise but falls completely short of the hype.
The wonder cop is switched places with a wonder bad guy and then you're left wondering who's who? Promising premise but falls completely short of the hype.
Pretty good movie
Jen-longwell18 June 2019
I was really into this movie. It kept you intrigued on what you think happened but I can say I didn't see what happened coming. I thought it was worth higher than what I gave it right up until about roughly 15-20 minutes left in the movie (I'm not going to say what changed my opinion because I don't want to spoil the movie because it really is worth watching once). You will see the change for yourself, you can't miss it but just because I don't like a turn the movie takes doesn't mean someone else does. Just personally for me that part was dumb but not enough to ruin the movie, just enough to lower the rating a bit IMO.
'The Ascent' (2017) is indie film-making at its best
mitchellchristopherlong7 March 2018
2017 indie film "The Ascent" provides a breath of fresh air in film-making. With a humbling budget of less than $20,000, "The Ascent" delivers a gripping narrative. Phenomenal acting, excellent dialogue, and exquisite writing drive this engaging supernatural thriller.
Seasoned LAPD detective Henry Cardenas (Miguel Perez) is on the verge of breaking a Los Angeles police department record. However, the most challenging case of his career, murder suspect Vince Marins (Stephen Buchanan), is taken into custody with Cardenas as lead detective. But as Cardenas probes the case, more than the present murder comes under investigation.
Marins makes a bold claim that he's something otherworldly, an assertion which Cardenas initially doubts. Meanwhile, budding journalist Regina Parker (Amber Waller) observes Cardenas. Initially, the veteran detective was reluctant to allow Parker to oversee his case, but he eventually conceded.
The film begins with narration from a then-unknown character. It's haunting dialogue: "They say she's buried under a tree," it explains of singer and pop icon Laura Maldonado (Anisha Adusumilli) who was murdered under mysterious circumstances, and her body never recovered. Then, action jumps to present day with Cardenas solving his latest murder case, just before interrogating Marins.
As "The Ascent" progresses, flashbacks periodically relay the tale of Maldonado's rise to stardom and eventual death. Over the course of the film, "The Ascent" focuses increasingly on Cardenas and Marins. Notably, Buchanan as Marins steals almost every scene he's in, infusing it with his quick wit and a frenetic energy.
A bracing thriller, "The Ascent" is not without its humor. Vince runs a website Hollywood Skateboard Tours (and yes, it's a live site). If that domain isn't already taken, it's likely snagged soon. During the investigation, Vince comments on the interrogation room: "No two-way glass?" he wonders. "If this were the movies, there'd be two-way glass." This self-referential moment adds a comedic element which is delightfully meta. Furthermore, Regina remarks that Det. Cardenas' partner, Frank Oslo (Sam Rodd) is the stereotype sleazy cop. When Cardenas queries what his stereotype is, she replies the zen master detective.
Writer-director Tom Murtagh crafts a clever narrative which doesn't show its hand until the final moments. An air of mystery persists throughout much of the film, and it's incredibly dialogue driven. The banter between Cardenas and Marins sustains the movie, acting as a primary driving force. With its simple yet effective sets, "The Ascent" is proof that budget doesn't make a film. With its incredibly modest $15,000 budget, "The Ascent" punches far above its weight class, outshining even major box office releases. It accomplished this feat with mastery of filmmaking techniques, from tour de force performances from Perez and Buchanan to taut dialogue, and an engaging plot that unravels in a sizzling slow-burn.
While "The Ascent" manages to grab the viewer's attention, holding it firmly until the final credits roll, a few moments feel unnecessary. Notably, there are two songs which play in full and though the tracks themselves are fine, it's odd to feature the entire runtime. The first appears while Cardenas and Oslo investigate a murder, and it's mildly distracting attempting to watch them work with the music over top. Sure, it's for dramatic effect and at that, it succeeds. But perhaps only a small snippet needs to play. Similarly, in the riveting conclusion, another song surges forth and plays in its entirety when a snippet could have easily sufficed.
Ultimately, "The Ascent" offers a refreshing dose of indie goodness. With its superb acting, plot, and script, it's a lesson in filmmaking which big-budget box office releases could use.
Seasoned LAPD detective Henry Cardenas (Miguel Perez) is on the verge of breaking a Los Angeles police department record. However, the most challenging case of his career, murder suspect Vince Marins (Stephen Buchanan), is taken into custody with Cardenas as lead detective. But as Cardenas probes the case, more than the present murder comes under investigation.
Marins makes a bold claim that he's something otherworldly, an assertion which Cardenas initially doubts. Meanwhile, budding journalist Regina Parker (Amber Waller) observes Cardenas. Initially, the veteran detective was reluctant to allow Parker to oversee his case, but he eventually conceded.
The film begins with narration from a then-unknown character. It's haunting dialogue: "They say she's buried under a tree," it explains of singer and pop icon Laura Maldonado (Anisha Adusumilli) who was murdered under mysterious circumstances, and her body never recovered. Then, action jumps to present day with Cardenas solving his latest murder case, just before interrogating Marins.
As "The Ascent" progresses, flashbacks periodically relay the tale of Maldonado's rise to stardom and eventual death. Over the course of the film, "The Ascent" focuses increasingly on Cardenas and Marins. Notably, Buchanan as Marins steals almost every scene he's in, infusing it with his quick wit and a frenetic energy.
A bracing thriller, "The Ascent" is not without its humor. Vince runs a website Hollywood Skateboard Tours (and yes, it's a live site). If that domain isn't already taken, it's likely snagged soon. During the investigation, Vince comments on the interrogation room: "No two-way glass?" he wonders. "If this were the movies, there'd be two-way glass." This self-referential moment adds a comedic element which is delightfully meta. Furthermore, Regina remarks that Det. Cardenas' partner, Frank Oslo (Sam Rodd) is the stereotype sleazy cop. When Cardenas queries what his stereotype is, she replies the zen master detective.
Writer-director Tom Murtagh crafts a clever narrative which doesn't show its hand until the final moments. An air of mystery persists throughout much of the film, and it's incredibly dialogue driven. The banter between Cardenas and Marins sustains the movie, acting as a primary driving force. With its simple yet effective sets, "The Ascent" is proof that budget doesn't make a film. With its incredibly modest $15,000 budget, "The Ascent" punches far above its weight class, outshining even major box office releases. It accomplished this feat with mastery of filmmaking techniques, from tour de force performances from Perez and Buchanan to taut dialogue, and an engaging plot that unravels in a sizzling slow-burn.
While "The Ascent" manages to grab the viewer's attention, holding it firmly until the final credits roll, a few moments feel unnecessary. Notably, there are two songs which play in full and though the tracks themselves are fine, it's odd to feature the entire runtime. The first appears while Cardenas and Oslo investigate a murder, and it's mildly distracting attempting to watch them work with the music over top. Sure, it's for dramatic effect and at that, it succeeds. But perhaps only a small snippet needs to play. Similarly, in the riveting conclusion, another song surges forth and plays in its entirety when a snippet could have easily sufficed.
Ultimately, "The Ascent" offers a refreshing dose of indie goodness. With its superb acting, plot, and script, it's a lesson in filmmaking which big-budget box office releases could use.
Worth a watch
kathmummybear11 October 2019
The Devil Is In The Details
jonathan-941-3226035 March 2018
Tom Murtagh's directorial debut is an excellent and intriguing supernatural-noir film, that keeps you guessing all the way to the end. The story is expertly crafted, and the performances by Miguel Perez and Stephen Buchanan are captivating. If you love Following (1998) and Primer (2004), you'll love The Ascent.
Great idea but badly supported
stevelomas-6940131 August 2019
Uhhm...A for Effort For This Indie On 20k Budget
grfulnfree-7264928 October 2019
Story 7/10, acting-mostly 3/10, wasted scenes 1/10, 7/10 for doing film on a very very low budget! Overall 4/10.
I really dont like to "dis" movies or pick them to pieces, but to be fair to reviews I will be honest here.
It was slow paced but due to the storyline I stuck with it. It has MANY wasted/too long scences that should've just been deleted, but it still held my interest bc I wanted to know wth was going on. Acting was subpar but still commend them for effort. Lead detective was decent, suspect was only decent part of the time if that, the others were awful (sorry people).
I'd say if you have run the gamut for what's available on prime and netflix then check this out for the storyline and to see an ok movie done on the tiniest budget I've ever heard of, it's worth a watch for that fact alone .
Good movie
witchniche23 May 2019
An astounding achievement
seanmichaelragan20 April 2019
I don't know if the rumors that this movie had a $20,000 budget are correct or not, but I did just today see an indiegogo campaign page that had raised something like $2,500, suggesting that in fact it was made on a shoestring budget. I know that the digital video revolution and streaming home entertainment have changed everything in terms of accessibility for indie film makers, but this movie really drove that point home for me in a way that no other ever has. I have watched many, many movies that literally cost a thousand times as much and enjoyed them a thousand times less. I wish Roger Ebert had lived to see it.
Also, I wanted to politely take issue with mitchellchristopherlong's quibble about the music playing while the detectives investigate the "Olivia" crime scene. I would argue that the music here serves an important dramatic function, specifically to make us see this scene (which we have seen so many times before in so many different crime shows and movies, inevitably via detectives who are jaded and cynical) with fresh eyes, as the authentic human tragedy that it really is. What the score here says is, "This is a different kind of movie. These are real cops who really see the victim. It's an awful thing to see and it hurts them every time, and they care." In fact, the dialogue literally tells us as much before they go in. "It's not like in the movies," Cardenas says to the reporter. So they're making an effort here to establish a more realistic emotional tone, which is one of the reasons why the left turn into supernatural horror that comes later is so effective.
Also, I wanted to politely take issue with mitchellchristopherlong's quibble about the music playing while the detectives investigate the "Olivia" crime scene. I would argue that the music here serves an important dramatic function, specifically to make us see this scene (which we have seen so many times before in so many different crime shows and movies, inevitably via detectives who are jaded and cynical) with fresh eyes, as the authentic human tragedy that it really is. What the score here says is, "This is a different kind of movie. These are real cops who really see the victim. It's an awful thing to see and it hurts them every time, and they care." In fact, the dialogue literally tells us as much before they go in. "It's not like in the movies," Cardenas says to the reporter. So they're making an effort here to establish a more realistic emotional tone, which is one of the reasons why the left turn into supernatural horror that comes later is so effective.
Brilliant - Bizarre
mariuchka16 July 2019
Completely blown away.
paigemannonfuller1 September 2019
Was not expecting this to be a very good movie, as the description was very vague and the fact that most movies I have seen lately were absolutely horrible. This movie was a little corny (cheesy acting) at times, but the story line was amazing. I was not expecting it to be as good of a movie as it turned out to be. Very impressed.
A Devilish Twister Worth Watching
taylarwooten29 May 2019
This is a smart, fresh film, and worth every minute of your time watching it. Keep in mind the movie industry calls this a mico-budgeted Indy. It was made for only $15k. No one can appreciate that more than those in the film business. It's an originally brilliant storyline with a devilish twist.
Interesting
cody-6868215 May 2019
T is a very interesting film. Not exactly my normal film to watch but it was very interesting and I honestly enjoyed it. I don't come from a film background, I simple just like watching movies and enjoyed it! Well done!
Original title "Awash" 2017
Bernie444417 February 2024
The detective Henry Cardenas, played by Miguel Pérez, is a crackerjack at extracting confessions from killers. He is one killer away from setting a record.
His latest potential prize is Vince Marins played by Stephen Buchanan.
Henry plies his confession formula well; something is not quite right.
--------------
You may be able to guess the ending from the details. But there is no way to get from here to there without listening to each word.
The only drawback is the periodic gawdawful mood music that sounds like a cheap sci-fi movie.
This could make a good stage play.
It does include a formula hypnosis method that may through a red herring in your tracks. In the hypnosis process I use escalators; the presentation uses elevators. Same effect.
His latest potential prize is Vince Marins played by Stephen Buchanan.
Henry plies his confession formula well; something is not quite right.
--------------
You may be able to guess the ending from the details. But there is no way to get from here to there without listening to each word.
The only drawback is the periodic gawdawful mood music that sounds like a cheap sci-fi movie.
This could make a good stage play.
It does include a formula hypnosis method that may through a red herring in your tracks. In the hypnosis process I use escalators; the presentation uses elevators. Same effect.
See also
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