Directed by Rodrigo Gudiño (The Last Will and Testament of Rosalind Leigh) from a screenplay co-written by Nick Cutter [aka Craig Davidson] and Ian Weir, based on Cutter’s Audible Original book. Produced by Pasha Patriki and Melissa A. Smith.
The Hangar 18 Media production stars Natalie Brown, Allan Hawco, Emily Alatalo, Wesley French, Elisa Paszt, Ava Weiss, Alex Lifeson, Adam Kenneth Wilson and Mary Antonini.
The soundtrack score was composed by Slash from Guns ‘n Roses who is also an executive producer.
Just before he leaves for the big city, Chief of Police John Hawkins (Allan Hawco) is asked to consult on a strange case. A mangled body with uncanny internal wounds is found in a boat on the Porcupine River. The gruesome discovery shakes up the small town of Lone Crow and the local coroner Jacob Redgrave (Wesley French).
They begin to suspect the remains are of a missing physicist, Doctor Cole Parsons (Adam Kenneth Wilson) and Hawkins is forced to revisit old ties with his ex, Meg Fulbright (Emily Alatalo) — the town’s charter-boat captain who knows the waterways like the back of her hand. She takes Hawkins and Redgrave to Parsons’ leased house in the woods, where he conducted secret research.
When they arrive, they find the home in disrepair, with an indescribable heaviness and a strange machine in the attic. Parson’s missing daughter and a visit by his grieving wife Linda (Natalie Brown) make the investigation more mysterious and deeper secrets are revealed that push everyone to the brink of danger…
“The dialogue can get clunky at times, but the atmosphere does a great job covering for these moments. The Breach has a disturbing tone that starts from the beginning and never goes away. There is a brief moment where it seems like the film is going to be more of a mystery, but even then there is an ominous feel. The tension only goes away when all hell breaks loose towards the end.” AIPT
“The physical effects work here is good, and properly unpleasant, but again, Gudiño never pays it undue attention. Whilst non-horror fans are likely to find it too much for them, this isn’t a gorefest. What matters throughout is the story, and despite its familiar aspects, it is, in its own way, a ripping yarn.” 3.5 out of 5, Eye for Film
” …a cosmic Lovecraftian tale of mad science with echoes of Clive Barker. Those Barker elements are channelled through the gore, and much like the opening body, will need a cast-iron stomach to endure […] A claustrophobic slice of eighties b-movie science-fiction, The Breach plays to the anticipated tropes well, whilst still slipping in the odd unexpected turn.” 4 out of 5, The Hollywood News
” …The Breach is an enjoyable Canadian horror film and a clever take on the mad scientist trope. While the character development is a little too flat, the second half is worth the wait. The film builds to a satisfying resolution where all secrets are finally revealed, including a few nasty surprises and creepy monsters.” Horror Buzz
“In the film’s final third, the screenplay takes three very different concepts and tries to mash them together. It was a real head-scratcher for me, as I was all in with the body horror ala The Fly idea. Everything sort of implodes from there […] It makes me want to go back to the source material to compare the work.” Reel News Daily
“The pacing was off, the performances left something to be desired and there were just too many things going on that competed for attention so none of the ideas were fully fleshed out. On the positive side, it had good music (it was produced and scored by Slash), some pretty darn good gore effects and has a kick @ss poster.” 2 out of 5, The Scariest Things
” …a film that explores the boundary between science and the occult – and it is also what places Gudiño’s work at the shadowy gateway between SF and horror. For The Breach concerns an apocalyptic invasion as much from within as from without, where all the trappings of genre are replaceable and ultimately reproducible…” 4 out of 5, SciFiNow
“The salvageable part of The Breach is the makeup/creature-related parts. But that happens very little and I don’t think it compensates. Everything else, it seems to me that it is very regular. From the actors, very difficult to believe in their respective roles […] It’s dark, it’s tedious, and it’s not funny.” Terror Weekend
“While it’s based more on atmosphere and dialogue than I expected, The Breach is never dull. Gudiño and the cast have a firm grasp on the material and help keep even the film’s more innocuous scenes feeling quite the opposite. The final act provides a fitting and appropriately gory pay off with plenty of gruesome practical effects.” 4 out of 5, Voices from the Balcony
Critical consensus rating:
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