Moray (Caitlin Carver) is taking a break as Call of the Void starts. She has been through it. Her brother/best friend has passed and she has decided to take refuge at the family “cabin” for some relaxation. It’s not so much a cabin but more of a rustic condo in a development on the edge of civilization. It’s Summer, the off season for skiing, and things are pretty quiet. That is until Professor Blackwood (Ted Barton) shows up with his dog. The exchange is cordial, but a little off. Things slowly begin to drift into off-kilter territory and with minimal urgency, a story begins to unfold. Writer director James B. Cox acts with a methodical, polished hand, hoping to deliver a sleek dose of elevated horror with Call of the Void. We get that, to be sure. But it seems that the void, as it were, is the enemy. With scenes that wander and straggle from the path instead of leaning into the isolation and paranoia, this thriller is only so-so.

The next morning Moray meets Lucy (Mina Sundwall), Sterling (Richard Ellis), Cole (Christian Antidormi), and Daryl (Ethan Herisse). All four are students of Professor Blackwood. It seems that music teacher Blackwood has invited his prized pets up to his condo for a jam session. But oddly enough the professor is now missing. Who cares, right? Despite the very weird argument between Lucy and Sterling that Moray overhears, they all plan to go on a hike. Eventually their host will return.

Moray joins her new neighbors for a hike off into the nearby forest. The plan is that they will all hike together, then venture off separately for some alone time with nature. This is where things become interesting. Moray is abandoned in the forest by her new friends and eventually makes her way back to her condo. The next morning things are off. Way off. Her new pals act as if nothing is wrong, in fact they pretty much act like Moray is the enemy. Then Moray begins to wonder who these people are, and more importantly what is causing that strange humming in the forest? Ignore the luminescent mushrooms cropping up here and there.

Writer-director James B. Cox is going for a cosmic, slow-burn vibe here but there simply isn’t enough going on to support it. We have the tortured female protagonist in Moray, wonderfully portrayed by Carver. We have the capricious clan of musicians. Then finally we have the terrifying unknown of what might be happening just beyond.  Stripped of superfluous scenes this had the potential to be unnerving. Long scenes of band practice and conversations that go nowhere only get in the way. I would rather have seen more scenes of ominous mystery lurking in the woods. We could have focused more on the physical and personal isolation that Moray is experiencing. This might have really pushed things into frightening territory.

Technically speaking the film looks great and the performances from our main characters are worth watching. There is a good idea here, with sonically-driven Eldritch horror vibes and a looming danger just beyond view, and a hint of Body Snatchers. But for all the sleek shots, the moody build up, the elements can’t overcome the scenes that add nothing to the story.