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Flying Lotus, whatever his shortcomings as a director, certainly has taste. Even in the musician-filmmaker’s first feature, the Adult Swim-like anthology Kuso, he attracted an army of talent ranging from Silent Hill’s Akira Yamaoka to Salad Fingers’ David Firth. His second film, the slight sci-fi horror Ash, continues to court the late-night crowd, but with its influences, not its collaborators. Draping a Dead Space skin over a straightforward Alien riff with a heavy side of The Thing—a team on a nebulous space mission navigates cramped hallways, wears cable-coated spacesuits, performs self-surgery, and wields readily available flamethrowers—Ash is at least brazen in its ode to the genre media Flying Lotus so obviously appreciates. But making a midnight mindfuck does, sadly, require at least a little bit of mindfulness.
Beyond FlyLo’s respectable curation of vibes and contributions to the crunchy, bass-heavy electronic soundtrack, the goopy, gory, trippy fun to be had here turns to Ash, mostly due to Jonni Remmler’s tedious script. Though it starts with a bang, waking Riya (Eiza González) up alone in an outpost filled with the brutalized corpses of her former teammates, the film listlessly moves back and forth through time on its way to an inevitable explanation. The brief flashback interludes to when Riya’s crew—Adhi (Iko Uwais), Kevin (Beulah Koale), Clarke (Kate Elliott), and Davis (Flying Lotus, who saves a nasty death for himself)—was alive and kicking are barebones, nearly as quiet and sparse as the scenes in which they’re all lying bloody on the floor. Temporally caught between, the amnesiac Riya keeps experiencing jumpscare memories from the bloodbath that is finally unpacked in full during the final act.
These twitchy, half-hallucinated cut-ins are solely deployed as screamers, weaponized bursts of color and volume without immediate consequence. They feel like cheap distractions from a thin narrative, especially considering that the memories themselves aren’t begging for analysis. Anyone who’s seen a sci-fi movie can guess how it all went down. Those expectations can make the storytelling feel even slighter when Ash opts not to put in any legwork around some of its other classic beats: When guy-in-the-sky Brion (Aaron Paul), the only other surviving member of Riya’s team, comes down to answer her distress call, there’s little done to tease out issues of trust between the two. Paul’s a welcome, invested presence, but neither he nor a game González have much to do besides gawp at the carnage, cast in the red glow of emergency lights.
The gore at least passes the ick test, with plenty of viscera and grabby alien goop intermingling in wet piles and in the writhing monstrosities that inevitably rear their deconstructed heads. Between the design work here and that done around the film’s main gizmo—a cheery Japanese-speaking scanner that helps perform autopsies—there’s intriguing imagery far better than the psychedelic visualizer effects seeping in from outside the station. The desolate planet itself, named for its falling ash, comes hued in pink and teal, and is as minor a supporting player as the dead crewmates.
But true to its inspirations, Ash offers up a formal mix between traditional sci-fi filmmaking and frequent first-person segments (either through pseudo-body cam footage or more explicitly video game-like bouts of point-of-view panic) that gives the familiarity a bit more energy than your average knock-off. It’s an imperfect imitation, one that requires no blood test to identify, but the colors pop like the heads, which will probably be enough for at least some stoned Shudder browsers.
Director: Flying Lotus
Writer: Jonni Remmler
Starring: Eiza González, Aaron Paul, Iko Uwais, Kate Elliott, Beulah Koale, Flying Lotus
Release Date: March 21, 2025