Blood may run thicker than water, but that proverb is turned topsy-turvy in Harry Waldman’s psycho-drama Enter the Room. Jeremy (Rich Holton) finds himself at the doorstep of his brother Brian’s (Peter Mastne) apartment, seeking a place to stay. What looks like a cordial reunion quickly sours when Brian’s uptight personality rears its ugly head, leading to endless hours of bickering, accusations, and hardship for the pair. Brian is constantly asking for rent that is not yet due, fussing over small details that others would let slide. Jeremy’s constant state of caution can only endure for a limited period before the situation deteriorates.
Steeped in an overwhelming sensation of discomfort, the short thrives on its rapid-fire pace with clear intentions to unsettle its audience. It takes some rather unconvential routes with its presentation, using frantic shots and vibrant colors to punctuate certain scenes, to somewhat diminishing returns. Enter the Room has an experimental edge that doesn’t serve it well early on. The blocking can feel flat, shots can go out of focus, the sound design isn’t immersive, and the list goes on. Perhaps more unfortunate is how the tension between Brian and Jeremy feels unnaturally conveyed.
The real surprises only come once you cross the midway point of the film. Maybe a bit too late for some, but Waldman’s film hits its stride in its closing minutes. The film’s lighting, camerawork, dialogue, and storytelling all reveal a surprising amount of hidden potential that emerges towards the end.
Brian’s verbal outbursts are finally toned down which ranged from moderately justified to being too excessive, and the actors hone in, eschewing the over-the-top nature of what came before. Both Mastne and Holton finally shine, engaging in an emotional exchange that leverages their characters’ volatile chemistry.
Writer/director Harry Waldman saves the best for last in Enter the Room, pulling the rug from under the viewer to unveil something wickedly sinister.
