‘The Ascent’ (2017) is indie film-making at its best (review)

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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.