Ashes
Ashes, the 1996 American directorial debut of German director Roland Weber, is gripping from start to finish, even if the story is at times predictable and the ending is fairly obvious. These are minor faults, though, because Weber drenches the film in atmosphere and succeeds in creating an almost unbearably tense 88 minutes.
The story is a simple one: a sadistic madman is murdering people randomly and leaving an ashy cross on each of his victim’s foreheads, much like the Ash Wednesday tradition. The press is claiming it’s a religious zealot, while religious organizations try to distances themselves from the murderer’s actions, even going so far as to cancel their upcoming Ash Wednesday services.
Jacob Mendleson plays Detective Walter Fox, who’s been working the Ash murders since they began six months earlier. He’s recently divorced and he’s devoted himself to catching the Ash Killer. Mendleson is intense and extremely focused in the role and he really gave himself over to Weber, delivering a piercing performance that’s particularly chilling in the final 15 minutes.
As Ash Wednesday quickly approaches, Fox attacks the case with vigor, certain that the killer is planning his most devastating move for the following week. At the same time, we follow the Ash Killer (frequent Weber collaborator Rudolph Snyder) as he stalks and abducts a young woman. This sequence is executed well, and even though we see the killer’s face from the start, we’re still afraid of him when he finally makes his move against Anna (Michelle Riley).
Snyder does wonderful things with his face and he would be crippled if he had to wear a mask or hood. Luckily, Weber realized this and decided to treat the reason behind the murders as more important than the person committing them.
Fox continues to research and eventually (through somewhat dumb luck) finds something that he missed earlier. As he races off in hopes the clue will pay off, the Ash Killer prepares to murder Anna, explaining why her head’s on the chopping block. It’s a revelation that explains why the Ash Killer does what he does, and won’t be spoiled here, but some of the evidence that Fox examines earlier in the film paves the way for this reveal, so it doesn’t feel like a major cheat.
Fox’s hunch does pay off and he finds a major clue that helps him locate the Ash Killer’s house, but he isn’t fast enough to save Anna. And if any viewer found themselves wondering if the ash the killer used to make the crosses was important, their question is answered in an unusual, disturbing way.
In the killer’s home, Fox also finds plans and blueprints for his Ash Wednesday killing. The finale takes place in this location, and it’s something that’s hinted at all the way from the beginning of the film, providing a cyclical nature that was very much appreciated.
Overall, Ashes is a pitch-perfect thriller with a wonderful cast and a great vibe. The atmospherics that Roland Weber infuses in the film are effective and hair-raising. Check out this film if you get a chance.
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