Anthology anecdotes associate apprehensive actualizations of the affected’s annihilation as well as the amplification and the assimilation of the antithesis of atonement skewing the audience’s attitudes asking about ambivalent attributes afoot.

Underneath: An Anthology of Terror is a Canadian film directed by John Nicol, Andre Becker, and Cory Ivanchuk. It’s a self-funded independent film-making waves at various international film festivals. It’s a series of interconnecting short stories consisting of five chapters, an epilogue, and assorted vignettes. Nicol also wrote the screenplay. It starts with a vignette called Breach, which sets the stage for what comes next. A man is convinced the cracks in his basement could actually be a doorway to hell. Five tales get revealed to him by the Demons he’s come into contact with. Will he give in to what he’s being told?

Chapter One is titled 6 AM. As a man runs low on his medication he gets visions of the brutal murders of his wife and his demonic possession. The narrative is driven by shocking visual imagery using dialogue sparingly for dramatic effect. It plays with reality by capturing what’s inside a troubled man’s mind. It begs the question, is this really happening or is it in his head?

Chapter Two is titled Ms. Shapen in which a television shares the troubled memories of a serial killer. Interesting camera angles and editing is used to convey the mind of deranged homicidal maniac. The gruesome images shared aren’t for the faint of heart.

Chapter Three is titled Passages where a writer discovers the passages he’s written can inflict maddening visions to unsuspecting people of his choice along with himself. Dialogue is used here more than in the other segments. The anguish of the author and his victims is perceived through expression, this still utilized over talking still fits with the motif.

Chapter Four is titled Certain Point Of View. It shows what it’s like to be possessed from the point of view of the victim of the demon responsible for the act. Intriguing camera work is employed to communicate how it feels to be on the other side of things. It’s done in a way, unlike the average possession film.

Chapter Five, titled I Can Change, is about a possibly mentally unstable man convinced he can shapeshift into a demon. Reality is warped as seen through the eyes of someone who seems like he’s going mad but as the grisly murders transpire the fine line is harder to navigate. With no clear answers on if he’s really a demon or not, it only adds to the adage of nothing is scarier than the unknown.

The Epilogue is titled Entropy. It ties all the stories together making the experience feel cohesive. Each twisted tale tries to stand on its own yet its cohesive with plenty of brutal gore along the way. The way practical effects are used makes it look like nothing is borderline cartoonish, or worse, fake. Minimal dialogue also leaves much of what’s happening open to interpretation.

Overall, I thought more explanation could have been done. For me, The First and Fifth Chapters of Underneath: An Anthology of Terror are the highlight where the middle section blurs together for a more muddled distinction between them. Just because I didn’t fully understand everything doesn’t mean others won’t but I appreciate the artistic decisions made. I’d recommend it to more hard-core horror cinephiles as it’s unlike most mainstream horror anthologies. It’s not for everyone. My only real complaint is more time could have been spent on storytelling rather the artistry because leaving too many unanswered questions open to interpretation could leave the average viewer more perplexed than entertained. And remember, evil comes in many forms…and chapters.

6 out of 10