The Transfiguration-2017

Director Michael O’Shea

Starring Eric Ruffin, Chloë Levine

Scott’s Review #853

Reviewed January 7, 2019

Grade: B+

The Transfiguration (2017) is a quiet horror film and resoundingly peculiar vampire tale that borrows elements from similar genre pieces but adds fresh nuances to its story.

Some may feel the film is too slow-paced, but a terrific payoff and tremendous conclusion come with patience. In the independent horror field, and with a limited budget, the underlying message of teen loneliness and alienation comes through loud and clear.

The film wisely adds tidbits of classic film history, a special treat for horror buffs.

Fourteen-year-old Milo (Eric Ruffin) has been through much trauma in his young life. His father has died, and his mother has recently committed suicide. Milo resides in a crummy Brooklyn high-rise with his older brother Lewis (Aaron Moten), a depressed military veteran.

Milo has a horrific secret- he is convinced he is a vampire and habitually kills strangers by drinking their blood. When he meets troubled teen Sophie (Chloë Levine), the pair are inseparable, but Milo’s secret is threatened to be uncovered.

The bevy of neighborhood Brooklyn exterior shots are pleasing for those familiar with New York City locales. Like Beach Rats (2017), another recent coming-of-age story shot in Brooklyn springs to mind.

Many scenes of Milo and Chloe wandering around their neighborhood or riding the subway are featured, making the overall package feel authentic and not overly produced.

The Brooklyn beaches and skylines make frequent appearances.

The most compelling and frightening aspect of The Transfiguration is how convinced Milo is of his being a vampire. This leads me to think the writer is providing mental health education. The audience immediately knows he is delusional, but he truly believes.

Terrifying is this reality as, via flashback, we see Milo discovering his mother’s body, her wrists slit. As he gruesomely tastes her blood a sense of wonderment we wonder if this is his vampire discovery moment. Indeed, it is a defense mechanism, but it is nonetheless extreme behavior.

The character of Sophie is also worthy of discussion. With both of her parents deceased, she is sent to live with her abusive grandfather, who lives in the same building as Milo. We never see the character but know that he is vile.

In one scene, Sophie appears to be raped by a group of boys, and she yearns for a friend in Milo. As she slowly realizes his secret but incorrectly assumes he is writing a book, not killing people, she can look past this to belong.

Milo and Sophie desperately need each other.

Despite the macabre characterizations mentioned above, the film is not quite a downer. In the middle of the vampire story, there is a sweet and likable young romance between the two leads.

They have a genuine and heartfelt charisma and charm, and even the most straightforward conversations sparkle with appeal. The final sacrifice that one makes for the other is riddled with kindness.

Fans of classic horror will be delighted to see clips of the 1922 film Nosferatu and other gory cult classic films that Milo is obsessed with.

Innocently, he attempts to broaden Sophie’s exposure to vampire films- she thinks the Twilight films are masterpieces, much to Milo’s chagrin. This fun banter balances the dreadful main story plot.

Does Milo have rooting power? Despite a history of animal torture and human killings, he is a charming kid. He is tempted to kill both Sophie and a young boy in the park but resists this urge.

Ultimately, he also saves Sophie, ensuring she will have a better fate than him. The character is complex and a large part of The Transfiguration’s success.

Writer and director Michael O’Shea cleverly uses a side story of a gang of bullies to incorporate a dramatic and shocking conclusion with a fantastic twist.

Though tragic and flawed, Milo proves himself a hero by using an opportunity to punish and exact revenge on enemies while saving another character’s life.

In this way, he will undoubtedly gain sympathy from the audience.

The Transfiguration (2017) is a unique film that infuses character development and romance with a blend of horrific, blood-curdling moments, especially during “kill” scenes.

I hope this small film with no advertising budget receives enough word of mouth to gather a following or, at the very least, garner recognition for the up-and-coming director (O’Shea).

Independent Spirit Award Nominations: John Cassavetes Award