Film Review: Shelter (dir by Wrion Bowling and Adam C. Caudill)

The 2012 film, Shelter, opens in an ominous and sterile-looking room.  There are bunk beds.  There are shelves that appear to be full of supplies.  There’s a table where people could possibly sit down and talk or play cards.  There’s a shower stall, with a shower curtain providing a little bit of privacy.

There are also several people in the room.  One woman is asking what they’re going to do.  In the shower, another woman is crying.  We can tell by looking at the inhabitants of the room that they’ve been in the room for a while and that they’re all losing whatever grip they once had on sanity.

And really, even though we don’t know what’s going on, we can all relate.  We can probably relate better in 2020 than audiences could in 2012.  Most of us have, in one way or another, been sheltered in place since at least March and — surprise!  — it turns out that all of those “We’re all in this together” commercials didn’t make anyone feel any better about the idea of not even being able to go outside without having to first put on a mask.  It’s not just the feeling of claustrophobia or humanity’s natural inclination to resent being ordered around.  It’s also that it’s hard to be happy when you don’t have the freedom to live your own life.  When someone is continually told that what they want isn’t important and that their fate is in the hands of some unseen regulator, who can blame them for going a little crazy?  That certainly would appear to be the situation in which the characters in Shelter have found themselves.

The film flashes back to the day that five strangers first found themselves locked away in the shelter.  They entered the room because an alarm went off.  None of them knew what the room was but, shortly after entering, they heard an explosion and felt the ground shake.  On a monitor, they saw a bright flash of light apparently vaporize the city above them.  They also found a note that explained that the room was designed to provide safety from a nuclear attack.  According to the note, they had enough food to last for several years.  Of course, the note also stated that the shelter was built and stocked with two inhabitants in mind, as opposed to five.

We follow the five survivors as they get to know each other and as they adjust to life in the shelter.  It doesn’t take long for them to settle into their new routine.  There’s really nothing else for them to do but accept the situation.  The room is locked and the doors are not going to open until a computerized system determines that it’s safe for the inhabitants to leave.  They’re stuck together so they might as well play cards and just wait it out.

Of course, things don’t work that smoothly.  The hours turn into days and the days turn into months and soon, petty annoyances become major disagreements.  Some of the survivors seem to be content with the idea of staying in the shelter forever while others think about escape.  Some start to wonder if there’s even actually been a war….

Shelter is a good thriller about human nature and just how much isolation and claustrophobia someone can take before they snap.  The characters are all well-defined and well-acted and the film made good use of its low-budget, with that sterile bunker ultimately becoming as much of a character as the people trapped inside of it.  The film ends with a twist that, while not completely unexpected, was still satisfying nonetheless.

Shelter‘s on Prime so watch it the next time you’re feeling trapped.

Review: Alcest – Shelter

I have a bad habit of failing to keep up with bands in the years after their big breakthrough albums. As a consequence, I tend to be caught off guard when I find an old band doing something drastically different from their old sound. That is not the case with Alcest. I have eagerly gobbled up everything Neige has thrown out there since Le Secret (2005), and I was well aware ahead of time that Shelter was not going to be a metal album. That did not phase me. Neige’s sound has evolved dramatically over the years, and as early as Souvenirs d’un autre monde (2007) you could not detect a residual shred of the style he presented on Tristesse Hivernale (2001). A dream pop/shoegaze/post-rock album was a reasonable thing to expect given the general direction his music had been going. I clicked play on Shelter fully convinced that I would enjoy it.

Alcest – Wings and Opale, from Shelter

If I was going to have doubts, they might have been about the level of external influence surrounding Neige’s music of late. Was it going to show? Would this not quite sound like Alcest? Neige claimed no knowledge of shoegaze music when he recorded Le Secret and Souvenirs d’un autre monde. I remember his publicized surprise when an early release of Souvenirs‘ title track got plastered with the genre label all over the internet. Since then, Neige has developed quite the fondness for those classic bands to which he was compared. Shelter even features a guest appearance by Neil Halstead of Slowdive. If Shelter was not going to be metal, there was certainly a chance we would hear a lot more of that influence in place of Neige’s self-derived affinity to the sound.

I don’t think that is an issue here at all. I can’t say I have heard much classic dream pop or shoegaze outside of Loveless, but if Neige had continued to boast total ignorance of the genres, I think I would have believed him. Shelter sounds deliciously like Alcest, whether the style is a departure or not. The album opens with the angelic, echoed vocal chant that by Les Voyages de l’Âme had become a staple Alcest sound. For the first minute and thirty seconds, there is nothing to distinguish Shelter from another Alcest black metal album. The instant familiarity is a pleasant relief for any fan that had major doubts. You might still wonder whether he could pull off a full 46 minute album of “soft” Neige without ever using metal to vary the dynamics, but that question dissolves into air a minute and a half in, as the first full track, “Opale”, kicks off. It’s so vibrant that your speculation seems a petty distraction in the face of the musical moment.

Alcest – Voix sereine, from Shelter

This feeling definitely persists through the third track, “La nuit marche avec moi”, and on it Neige’s trending toward post-rock, audible on “Opale”, becomes substantially more apparent. “Voix sereine”, 11 minutes into the album, is the first time things really calm down from a pretty jubilee to get your mind wandering again. It kicks off slow and simple, rather dull really, and I for one had a hard time remaining attentive for the first three minutes. Was this the sort of “down time” I ought to have feared could come with a complete abandonment of metal? Perhaps it is, but 3 minutes of bore could be easily forgiven from most musicians. At the three minute mark, the song transforms into something substantially more palpable, and my second thoughts are largely forgotten. Much to my delight, I do find out that Neige fibbed a bit about the album’s contents. We might not encounter any blast beats or gut-wrenching screams on this album, but he did not forget how to turn on the distortion altogether. As the song gets heavier and substantially more… substantive, the boredom of the build-up fails to hold. It becomes a really great song. On a re-listen, knowing that something fairly aggressive will come of it, the lull is easier to swallow.

Alcest – Délivrance, from Shelter

The next song, “L’éveil des muses”, finds a more interesting starting point, but another slow build-up gives me serious doubts for the first time. What holds post-rock in the moment is the knowledge that something earth-shattering will come of it all. Knowing that “Voix sereine” is likely as heavy as the album is going to get, and without the instant gratification of the opening dream pop tunes, I struggle to give the song 100% of my attention. Track six, “Shelter”, is a much needed return to something more upbeat. It opens with the sort of pitch shifting distortion made famous by My Bloody Valentine, and from start to finish it’s an enjoyable ride. “Away”, the track featuring Neil Halstead on vocals, is a beautiful composition that, I think, would have been a thousand times better with Neige singing. Halstead kind of kills it for me–not because of the quality of his singing but because it sounds totally out of place on an Alcest album.

And then we close with “Délivrance”. The longest track by far at 10 minutes, it carried the weight of my overall opinion of the album. Shelter had so far offered a lot of stellar moments, but at its calmest it dangled dangerously on the edge of boredom. “Délivrance” needed to be a pretty epic piece of post-rock. At 3 minutes, a really classic post-rock guitar kicks off to confirm my hopes–at least to a point. It’s where the song heads from here that really disappoints me. We’re building, and we’re building, and it’s definitely a fun ride, but then right when you expect the song to really cast its shell aside and go all-out…. did it just end? Not a ten minute song after all, “Délivrance” concludes with a three and a half minute toned down outro.

It’s not common for me to speak of a song being too short, but “Délivrance” feels so incomplete to me. I accepted the first 3 minutes because I assumed we were going somewhere. I loved the next 4 because we were going somewhere. But we never really got there. Neige is the guy who made post-black metal a reality in the first place. Granted the full-fledged, conscientious post-rock/black metal cross-overs came later, I guess I expected such a hero of modern metal to aim a bit higher when confronting a fairly traditional post-rock sound. I can try to enjoy “Délivrance” for what it does offer, but I can’t help but think that he failed to see how much further he could have taken it. It’s something that would have sounded appealing in the late 90s but seems incomplete to me today, when post-rock bands are a dime a dozen and competition is a bit more formidable. I can’t quite get over that enough to fully enjoy it.

In the end, I guess you might say Shelter disappoints me. Maybe that’s because I came into it with really high expectations, where a lot of fans might have set the bar low when they found out there would be no black metal element. The first three tracks boosted my expectations all the more by offering a really novel sound that grabbed me and held on. But that dream pop vibe did not last, and the more he got back to sounds you might expect from an Alcest album of old, the more they felt depleted of the old energy rather than infused with a new one. Where the post-rock kick would normally give way to a black metal rockout, here it just fizzes away. Tracks like “Opale” set a precedent for how I wanted the entire album to sound. I got half of that, and half something that just makes me hope he goes back to his roots on the next release.

Here are the 39 songs eligible for a Best Original Song nomination

Yesterday, the Academy announced that the following 39 films are eligible to nominated for the Oscar for Best Original Song of 2011.  Considering how the awards season has gone so far, I guess I shouldn’t be surprised that few of the songs that I truly enjoyed hearing this year are eligible.  Still, it is nice to see that Capt. America will have a chance to score a nomination for “Star-Spangled Man.”

Then again, it would also be nice to see something from The Muppets win because I’m sure Bret McKenzie would give a perfectly charming acceptance speech.

One final reaction to this list: there’s a movie called White Irish Drinkers?  


  • “The World I Knew” from “African Cats”
  • “Lay Your Head Down” from “Albert Nobbs”
  • “Star Spangled Man” from “Captain America: The First Avenger”
  • “Collision of Worlds” from “Cars 2”
  • “Dakkanaga Dugu Dugu” from “DAM999”
  • “DAM999 Theme Song” from “DAM999”
  • “Mujhe Chod Ke” from “DAM999”
  • “Rainbird” from “Dirty Girl”
  • “Keep On Walking” from “The First Grader”
  • “Where the River Goes” from “Footloose”
  • “Hello Hello” from “Gnomeo & Juliet”
  • “Love Builds a Garden” from “Gnomeo & Juliet”
  • “Bridge of Light” from “Happy Feet Two”
  • “The Mighty Sven” from “Happy Feet Two”
  • “Never Be Daunted” from “happythankyoumoreplease”
  • “Hell and Back” from “Hell and Back Again”
  • “The Living Proof” from “The Help”
  • “Coeur Volant” from “Hugo”
  • “It’s How We Play” from “I Don’t Know How She Does It”
  • “When the Heart Dies” from “In the Land of Blood and Honey”
  • “Ja Nao Estar” from “José and Pilar”
  • “The Keeper” from “Machine Gun Preacher”
  • “Life’s a Happy Song” from “The Muppets”
  • “Man or Muppet” from “The Muppets”
  • “Pictures in My Head” from “The Muppets”
  • “Summer Song” from “The Music Never Stopped”
  • “Imaginary Friends” from “Olive”
  • “Sparkling Day” from “One Day”
  • “Taking You With Me” from “Our Idiot Brother”
  • “The Greatest Song I Ever Heard” from “POM Wonderful Presents The Greatest Movie Ever Sold”
  • “Hot Wings” from “Rio”
  • “Let Me Take You to Rio” from “Rio” 
  • “Real in Rio” from “Rio”
  • “Shelter” from “Take Shelter”
  • “Gathering Stories” from “We Bought a Zoo”
  • “Pop” from “White Irish Drinkers”
  • “Think You Can Wait” from “Win Win”
  • “The Backson Song” from “Winnie the Pooh”
  • “So Long” from “Winnie the Pooh”