“Dead Mail” is an intriguingly offbeat thriller that feels like it was unearthed from the depths of the 1980s, complete with a synthesizer-heavy score and a distinctly retro aesthetic. Directed by Joe DeBoer and Kyle McConaghy, the film is an original and compelling blend of obsession, loneliness, and nostalgia, and your stamina will be rewarded if you can get through its more tedious moments.
The plot kicks off with an intriguing hook when a blood-stained scrap of mail bearing an ominous cry for help is discovered by the staff of a small town post office. Initially dismissed as a prank, eventually this mystery mail sparks an investigation that leads into a macabre world of kidnapping and murder.
Paying heavy homage to the grim and macabre Americana that’s been embraced in cinema by the Coen Brothers and David Lynch, the film thrives when it successfully captures the essence of the late 1970s and early 1980s. The visual and auditory choices evoke a strong sense of time and place, so much so that it’s easy to forget you’re watching a movie that was made in the present day.
DeBoer and McConaghy sometimes struggle with the narrative, though, especially when they shift their story’s focus from a compelling mystery to the esoteric world of synthesizer building. All the narrative buildup and tension is diluted and the momentum wanes about halfway through, but it’s worth sticking it out ‘til the end.
What makes it so watchable is the cast of unknowns (including Sterling Macer Jr., John Fleck, and Tomas Boykin), all who deliver hardy performances, and the overall unsettling atmosphere. This is a horror film not in the traditional sense, but more of an uncomfortable psychological journey that’ll make you squirm.
Although it can feel uneven in parts, “Dead Mail” has enough originality and retro flair to spare, and it’s very creatively executed. This is a thriller that fans of indie cinema and those with a penchant for films that defy conventional genre boundaries will find especially rewarding.
By: Louisa Moore
Screen Zealots 