The Remaining (2014) was recommended by a friend who knows my interest in cheeseball horror or, indeed, cheeseball anything else; given a choice between a four-star film and a zero-star film, you’ll find me curled up in front of the piece de merde with a big smile on my face. I always say you can learn more about filmmaking from a terrible movie than a good one; a good film is seamless and it takes three or four viewings to come a full realization of, say, how the camera angles contribute to a sense of dread, or whatever. Whereas if you’re watching Sharknado or one of its fellow crapfests, you’re constantly thinking to yourself, “Wow, I would have avoided doing THAT,” and you start to learn the difference between good and bad filmmaking.
Author: Chris Downing and Casey La Scala, who also directed.
Cast: Alexa Vega, who was the older sister in the Spy Kids movies and is now all grown up. Her Wikipedia biography cites her strong Christian faith. The remainder of the cast is a bunch of, generally, unknown actors who have small TV roles to their credit and who presumably needed the work.
Other data: According to Wikipedia, it grossed $1.7 million. Nobody’s apparently willing to disclose production costs, but I suspect this didn’t make back its money since there is no mention anywhere on the internet of The Remaining 2 being a possibility.
About this film: This film starts out with an overlong sequence before the Rapture occurs at the 11-minute mark which establishes the characters and situation. It’s part of the currently very awful handheld camera trend, which started out as clever when The Blair Witch Project did it and is now a way of making a movie if you have a very low budget; one character clutches his camera despite all trials and tribulations. At the precise Raptorial moment, a viewpoint character is running his camera while coming down in an elevator with the bride’s parents; her mother is just saying that she wishes her daughter had been married in a church when — in a nice little moment — you can see the characters’ breath as everything gets very cold. Wham, half the wedding guests fall down and die, and their eyes glaze over. Weird things begin to happen; a little earthquake, some sort of sonic boom, and people start running from the building. In what has to be the nicest piece of production in this whole film, a huge airplane falls out of the sky and crashes into a nearby building. A handful of young people leave the building and head for a library to protect themselves as chunks of ice fall from the sky; they immediately decide it’s the Rapture because, as the bride sententiously remarks, “All the good people are gone, and all the bad people are left here.” Well, the bride may be a bad person (I think we’re meant to believe she and her new husband had premarital sex) but she has grasped the concept immediately. She finds a bible in the library, buried under a stack of Nora Roberts novels, and, sure enough, everything was foretold precisely as it’s happening! They pick up a pretty young blond woman, who comes along with them for no apparent reason. They go to a church to find the bride’s BFF who, unbeknownst to her boyfriend, heads there every time they have a fight. The bride gets picked up by an invisible flying thing and gets dropped to the ground with terrible claw marks in her back; the bible she was clutching is now burned to ash.
The kids meet up with the BFF at the church, engage in some hokey moralizing to cheer themselves up, and get patched up by a woman who is apparently the only person of colour left on earth. Some people head out to a hospital to get the bride some medical assistance, but of course there isn’t any. All the young people start to speculate about what’s going on and why they were spared (one girl says, without a hint of a smile, “I’m a good person. I’m just not a churchy good person, that’s all.”) The handsome bearded pastor who is holding down the church reveals that he was a bad person because even though he sort of believed in Jesus, he didn’t really; he was paying lip service, as it were. The church gets attacked by what might be demons, and everybody heads for the basement; the handheld video switches to the green of low-light shooting, which is both difficult to believe and damn near impossible to see. The pastor gets swept up by the invisible demons and disappears. At daylight, the young people (almost everyone in this film is meant to be 18-25) decide to make their way out through the now destroyed church and past the very-dead pastor. (People seem to develop sudden urges to move to the next location for no really good reason, almost as though the set rental had expired.) Off to the hospital, past a bunch of 18-25 extras wandering aimlessly around, only to find that the hospital is empty of medical help and supplies. The bride dies in her groom’s arms in what is meant to be a dramatic and poignant scene — she sees heaven and whispers how beautiful it is. The groom heads outside and curses God because she died — oh-oh, bad idea. Yeah, a gigantic spike comes out of nowhere and kills him, then whisks him off into the sky. An invisible force in the hospital kills a few more kids. The few remaining kids, including the cynical videographer, head off to what appears to be a refugee camp. Golly, it’s almost as though the American system has come through and is restoring order! One of the hospital victims has left a video on her phone for her videographer boyfriend where she realizes the futility of her former life, where she was “spiritual” but not religious — now, oh, how she regrets it all. “We all have to make a choice.” She weeps and chooses God; whoops, she gets killed! The boyfriend goes off and gets baptized, while “Amazing Grace” plays in the background. But the other kid realizes that all that churchiness will draw the demons, and the newly baptized videographer gets torn apart by invisible demons. The two remaining kids, cynical boy and non-churchy girl, clutch each other — she decides to choose God too, and leaves the cynical guy behind as dark creepy demons start to come out of the sky. Cynical guy gets dragged away by demons as the movie ends.
This movie is very low budget. There are a couple of expensive pieces of SFX (airplane hits a building, and a quick scene where the young people walk past a burning helicopter) but by and large, the demons are literally invisible. So if you’re accustomed to movies that actually show you the monsters with which they’re trying to scare you once in a while, you will be disappointed; they couldn’t afford it. All the actors are fairly good, but they struggle with the dialogue they’re given. Alexa Vega’s death scene is just awful; it’s as though she said, “I’m not doing this film unless you give me one scene where I can go all out.” The trouble is, the underlying emotions are conceived by people who probably haven’t experienced them, and so they’re burlesqued and hokey. Cheap sets, no costumes, almost zero in the way of good special effects. And that extremely annoying handheld camera throughout, which makes me think merely that they couldn’t afford Panavision. Inserts that are obviously stock footage from Weather Channel. And the whole cast is (a) 18-25, (b) white, and (c) unconvincing. The whole thing is rather like Ed Wood Jr. had converted to Christianity and made this cheese log in honour of his newfound faith.
What does this all mean? Now, as I mentioned, I do enjoy cheeseball horror. What struck me as sufficiently interesting about this film to warrant a blog post is something that I noticed about it, and its companion pieces about the Rapture, Left Behind/Left Behind II, two gloriously awful pieces of cinema starring, in #1, the execrable Nicolas Cage, and in #2, the execrable Kirk Cameron. Essentially, the Rapture flips the horror narrative by killing the good guys and making the bad guys suffer; I think I might have figured out why.
Back at the dawn of the slasher movie, people realized that there was a common pattern to be seen in horror movies intended primarily for a teenage audience; if you were a morally unsound person, you got killed, and if you were a young female virgin, you had a chance of surviving to the sequel. This gave rise to the umbrella description of this genre as “fuck and die movies”. It’s always the kids who are making out in the car who are the First To Die; the bullies, mean girls, sexually advanced, LGBT, petty criminals, disobedient kids, and even cigarette smokers were doomed to be chainsawed, or whatever the killer’s mode of choice happened to be for that property. Bad people die; good people live.
Here, though, all the good people die 11 minutes into the movie, and the rest are merely marking time until Satan’s minions snatch them up. Oh, they’re not REALLY bad; it seems clear that most of these good-looking youngsters are the kind of kids we would think of as good, it’s just that they had the misfortune to not have devoted themselves heart and soul to a Christian church. It’s the equivalent of premarital sex in a Jason Voorhees slasher; if you’re not good, you have to live through — according to the bible — seven years of torture and punishment. (Being strapped to a chair while Left Behind II played on endless repeat, for instance.)
But if you think about it, there’s something wrong with this idea. Who is the audience for this movie? I don’t think it’s too much of a stretch to suggest that the only people who are taking this seriously — and who are not, like me, reeking of marijuana and giggling uncontrollably in the back row — are your basic hard-core dedicated Christians. And the movie is telling them that what they have to look forward to is dying 11 minutes into the movie. Oh, sure, they go to live with Jesus and all. But they die.
So is this meant to be a kind of “scared straight” moment for the pot smokers in the back row? I suppose there are some hard-core Christians who are stupid enough to believe that that could happen. But honestly, if a single person sees “the error of their ways” as a result of viewing this potboiler, I suggest his mental stability was none too solid in the first place, and Christianity is liable to be supplanted by Scientology, weightlifting, or anti-psychotics, in the very near future.
No, I think what this is is actually a particularly nasty kind of porn; Xtian revenge porn. (My regular readers know that I use the word “porn” to describe artistic endeavours that have the trappings of strong emotion without actually delivering.) The message here is, “Teenage evangelical Christians, you are RIGHT. Yes, your classmates all think you’re an idiot; you aren’t allowed to have sex before marriage, are constantly wracked with guilt for your ‘sins’, and are no longer even close to being the dominant paradigm. But you know what? Here’s what’s going to happen. When the Rapture comes, you’re going to go live with Jesus in heaven, and all those people who laughed at you — they’ll be torn to bits by mystical demons.” So your typical evangelical teenager in some rural flyover red state gets to experience what will happen to his enemies — that pretty girl who mocked him for being a virgin, that cynical popular guy who called him a dork, that pastor whom he suspected wasn’t really, really a true believer — in as much grisly detail as the budget could afford, which isn’t much. Yeah, that’ll teach YOU, you bastards. Just you wait till the Rapture comes, then you’ll be laughing out of the other side of your mouth. And I’ll be in heaven! All their lives they’ve watched Freddy Kruger whisk people off to hell, but for the wrong reasons … it makes perfect sense that they would believe that this large-scale revenge on the unchurched would be both imminent and this violent. Because if a little seed of doubt begins to creep in …
And that’s the trouble with the moral high ground — you have to be a really, really good person to claim it, and when you do, it’s awfully easy to slide off. If you think about this logically, taking any pleasure in this movie is a sin (because you REALLY should be trying to lead all these unchurchy people to the Lord, right?) and so by enjoying the suffering of the infidel you render yourself susceptible to be whisked into the sky by invisible demons. Oh, too bad, so sad.
I think I’ll risk the demons. Besides, if I actually did end up in heaven, I might have to endure Kirk Cameron being a pompous dick; I’d rather be in hell with my friends, thanks.
Notes for the collector:
You can get a used DVD of this for $4.82 on Amazon as of today. Why you’d bother I have no idea … but then, I’ve found in the past that it’s the significantly awful artistic items that become the most desirable and expensive in the future. If there is still the equivalent of a Blockbuster in your town, you should be able to pick this up in the bargain bin for $1.49 in about two years; see if you can manage that. But this is not a film for viewing; this is a film for laying down and avoiding.