Down a Different Rabbit Hole
An Alyce Kills (2011) Review
Horror films often begin by establishing a sense of normalcy before plunging the viewer into nightmare. Jay Lee’s indie horror Alyce Kills (2011) follows this path but takes a particularly unsettling trajectory.
Instead of external monsters or supernatural threats, the film delves into the internal chaos of its protagonist, Alyce, whose descent into madness is as mesmerizing as it is repellent. The nods to Alice in Wonderland, noted by some reviewers , take on a grim, urban twist here – this isn’t a whimsical journey but a psychological tumble down the rabbit hole of guilt, drugs, and violence.
Central to this descent is a standout, much-discussed performance by Jade Dornfeld as Alyce. The film chronicles how the accidental killing of her best friend, Carroll (Tamara Feldman) , sends Alyce into a self-destructive spiral involving drug addiction and shocking acts of violence. Since its release via Bloody Disgusting Selects , a label known for championing niche and often graphic horror, Alyce Kills has polarized viewers , becoming a conversation piece among genre fans. This divisive reception necessitates a balanced look to discern whether the film is a bold exploration of psychological breakdown or merely an incoherent exercise in shock value.
The film’s premise – an accidental killing leading to madness – combined with its independent status and association with Bloody Disgusting suggests an intent to explore psychological horror themes often sidestepped by mainstream studios. Independent films frequently tackle darker, more complex psychological subjects due to fewer commercial constraints. The Bloody Disgusting Selects label targeted a niche horror audience appreciative of unconventional and often graphic content. The premise itself focuses on Alyce’s internal state – her guilt and mental unraveling – rather than an external monster or threat. Therefore, the film likely uses the horror framework not just for scares but as a vehicle to explore the protagonist’s internal collapse, consistent with trends in psychological indie horror.
From Indie Horror Roots: Behind the Madness
Director Jay Lee came to Alyce Kills with a specific track record, most notably his work on the satirical horror-comedy Zombie Strippers!. This prior experience hints at a penchant for satire, the grotesque, and genre-bending, elements that arguably resurface in Alyce Kills, albeit in a different register. Lee himself suggests Alyce Kills is also a social satire and allegory of the times, drawing a parallel between the two seemingly disparate films. His frequent multi-hyphenate role as writer, director, cinematographer, and editor is characteristic of low-budget independent filmmaking, where one individual often wears many hats.
The film was made on a smaller budget than Lee’s previous work , which likely influenced the shift from broad spectacle towards psychological tension. Production companies Social Construct and Scream HQ backed the project, which filmed in the Echo Park neighborhood of Los Angeles. Independent production involves challenges like shooting out of sequence, relying heavily on actor preparation , and navigating the difficulties of getting the finished film seen. Lee’s move from the overt satire of Zombie Strippers! to the psychological focus of Alyce Kills, despite the lower budget, could indicate both a conscious artistic shift and a pragmatic adaptation to resource limitations, turning transgressive energy inward rather than outward. Lee’s comment about Alyce also being a social satire/allegory reinforces this connection, implying psychological horror can serve satirical ends too.
As the film opens, we meet Alyce, perhaps bored, detached, working a monotonous call center job , hinting at an underlying dissatisfaction or vulnerability even before the inciting incident. The fateful night out with Carroll – an attempt to reconnect, fueled by drugs (ecstasy is mentioned ) and culminating in the rooftop fall – becomes the trigger for her unraveling. Crucially, the ambiguity of this moment is noted by reviewers: the audience doesn’t see a clear push, and the fall could have been an accidental slip.
This uncertainty complicates Alyce’s guilt and makes her subsequent descent less straightforward but more psychologically intriguing. If the fall was purely accidental, Alyce’s extreme reaction and later violence become less about justified guilt and more about a psychological break triggered, but not wholly caused, by the event. This ambiguity elevates the film beyond a simple guilt-and-revenge tale into a more complex character study where predisposition meets trigger.
Jade Dornfeld’s Primal Scream: A Star Turn into Darkness
The absolute core of Alyce Kills is Jade Dornfeld’s performance in the title role. Her portrayal anchors the film , providing a focal point in a narrative that deliberately disorients and shocks. Dornfeld navigates Alyce’s transformation masterfully: from the initially perhaps shy or detached young woman (one reviewer describes her initial appearance as a “seemingly vapid, superficial party girl” ) to a drug-addled, emotionally disconnected, violent, and “confidently predatory” figure.
Reviewers praise her ability to convey the mental decay through subtle actions and facial expressions , allowing the audience to witness the gradual erosion of humanity. Her work has drawn comparisons to standout performances in films like May and American Mary , indicating the power and depth she brings. Dornfeld, with a background in the LA theatre scene , brings the necessary intensity and vulnerability. She herself mentioned the challenge of shooting out of sequence and needing to rapidly shift between Alyce’s varying states of mind, relying on directorial cues (“How many drugs have I done? How many people have I killed?”). Her theatre background likely accounts for her ability to handle the complex emotional arc and the challenges of non-linear filming, bringing a level of preparation and depth often seen in stage actors tackling demanding screen roles.
However, some viewers found it difficult to connect with, or even sympathize with, Alyce. Her actions become increasingly monstrous, her motivations blurred by drugs and escalating madness. Is this a flaw in the writing or performance, or an intentional portrayal of an anti-heroine whose downfall is meant to horrify rather than elicit pity? Likely the latter. Dornfeld’s performance, often praised even by the film’s detractors , serves as the primary stabilizing force in a film marked by tonal shifts and potentially uneven pacing. Her commitment arguably keeps the film from collapsing under its own chaotic narrative weight, providing a consistent focus for the audience and grounding the more extreme or surreal elements.
A Grimy Wonderland: Direction, Style, and Atmosphere
Jay Lee’s directorial choices in Alyce Kills cultivate a specific, unsettling atmosphere. The visual style, noted by reviewers, incorporates a “hazy, unsteady” feel compared to The Virgin Suicides , employs standard mental-instability tropes of camera “jerks and shakes” , and utilizes a deliberate color palette. Saturated colors in bars and clubs contrast with “sickly muted” tones in grimier locations and cool blues and grays in appropriate scenes. These visual choices effectively convey Alyce’s distorted perception and the film’s oppressive mood. However, some critics also noted cinematography flaws like poor lighting in dark scenes and excessive close-ups. Given Lee often acts as his own cinematographer , this style, including its potential shortcomings, likely reflects both an artistic intention to immerse the viewer in Alyce’s deteriorating subjective reality and the practical constraints of low-budget production.
Sound design and editing (Lee also frequently edits his films ) contribute to the atmosphere, though some reviewers pointed out sound mixing issues. One of the most frequently criticized aspects is the film’s pacing. A slow burn in the first half, focusing on Alyce’s internal state post-incident, gives way to a rapid acceleration and explosion of violence in the finale. For some, this slow burn effectively builds character before the ultimate breakdown; for others, it feels tedious, with a payoff that doesn’t quite land. This structure, however, could be interpreted not as a flaw but as a deliberate choice mirroring the nature of a psychological break – gradual internal shifts followed by sudden, violent external manifestation.
Overall, the film’s atmosphere oscillates between psychological dread, urban alienation, and surreal nightmare. Lee crafts a world that feels both familiar and disturbingly off-kilter, mirroring the protagonist’s internal disarray.
Guilt, Gore, and Genre Games: Unpacking the Narrative
Alyce Kills delves into several interconnected themes, weaving a dark narrative of personal disintegration. The central theme is undoubtedly Alyce’s psychological breakdown/madness. The film charts her descent, exploring how a single traumatic event, compounded by guilt and drug abuse , can shatter a psyche. The guilt manifests through hallucinations and paranoia, fueling her madness, especially given the ambiguity surrounding Carroll’s actual fall. Drugs, initially part of the tragic night, become Alyce’s coping mechanism, only accelerating her decline, facilitated by the dealer Rex (Eddie Rouse).
The violence escalates from accidental to deliberate, graphic brutality. The manner in which Alyce commits these acts – with a “businesslike calm” – underscores her complete dehumanization. This violence is so excessive that some viewers and even the director suggest it borders on black comedy or satire, perhaps reflecting the absurdity of her state. The context for the breakdown also includes themes of urban alienation and mediocrity: Alyce’s mundane job and possible pre-incident dissatisfaction provide a backdrop against which her spiral feels more plausible.
The film employs Alice in Wonderland motifs – the names Alyce and Carroll, references to a White Rabbit, a key, a rabbit shrine, the phrase “Off with her head!” – but these function more as cultural shorthand for altered states and distorted reality than a direct adaptation. They serve to quickly evoke a sense of entering a warped, subjective reality, leveraging audience familiarity with Wonderland as a symbol for such journeys.
Genre-wise, the film shifts constantly: starting as a drama or psychological thriller, incorporating ghost story elements (Alyce’s hallucinations), and culminating in outright splatter. This blend can feel either innovative or incoherent, depending on the viewer’s tolerance. Arguably, this genre chaos is part of Lee’s satirical intent , mirroring the chaos within the protagonist’s mind.
Curiouser and Curiouser: The Supporting Cast
While Alyce Kills is inextricably focused on its title character, the supporting players serve crucial roles in her downfall. Carroll (Tamara Feldman) , Alyce’s best friend, is the unwitting catalyst. Their friendship, shown with genuine energy early on , provides a stark contrast to the horror that follows, and her “presence” after death (via hallucination or guilt) haunts Alyce.
Rex (Eddie Rouse) , the drug dealer, functions as a sort of Mad Hatter in this nightmarish Wonderland. His flamboyant, manic monologues about control and criminality offer a twisted philosophy that both repels and enables Alyce. He becomes a guide into the world of drugs and violence, pushing her towards embracing her “psychotic center”. Rex isn’t just a plot device; he embodies the alternative, “insane” logic of the world Alyce descends into, acting as both guide and commentator on her fall.
Vince (James Duval) , presented as a weaker male character , perhaps represents the inadequate or predatory men in Alyce’s life. It is an encounter with him that marks Alyce’s shift from psychological unraveling to physical violence. Other characters, like boss Harold (Larry Cedar) or Lt. Warner (Yorgo Constantine) , serve more functional roles, representing aspects of the world Alyce is either fleeing or destroying.
Critical Mass: Reception and Legacy
The graphic violence and gore in Alyce Kills are integral and much-discussed elements. The final act’s set pieces are described as “invigorating and very bloody” , capable of making even seasoned horror fans squirm. The effectiveness of this brutality is debated: for some, it’s powerfully shocking, underscoring Alyce’s madness; for others, it’s excessive or even misplaced black humor. An audience reaction described in one report, where viewers were “wonderfully grossed out and uncomfortable” during a particularly gruesome scene, confirms the visceral impact of these moments.
Critical and audience reception to the film overall has been mixed. An IMDb rating of 5.4/10 (from 3.3K ratings) and polarized user reviews reflect this divide. Among critics, positive takes can be found (Dread Central and HorrorNews.net gave 3.5/5 , Horror-Movies.ca praised Dornfeld and the direction , Blood and Guts for Grownups 3.5/5 ) alongside more muted or negative ones (Slant Magazine focused on satire , MovieFreak gave 2.5/4 ).
Notably absent are established aggregate scores on Metacritic (listed as “tbd” due to few reviews ) and Rotten Tomatoes (searches yield conflicting or irrelevant results, indicating no official score or one based on very few reviews ). This confirms the film’s niche, independent status and suggests it received limited mainstream critical attention upon release, primarily reviewed by specialized genre outlets. The film had no significant box office run and its festival history seems limited to mentions like the Calgary International Film Festival. Alyce Kills remains a cult or niche discovery for indie horror fans.
Conclusion: Is This Trip Worth Taking?
Alyce Kills is a challenging, provocative film that leaves a strong, if not always pleasant, aftertaste. Its strengths are undeniable: Jade Dornfeld’s committed and memorable lead performance , a bold and disturbing premise , potentially insightful psychological exploration, striking visual moments , and intense, unforgettable gore.
However, the film is not without its flaws. The debated pacing, uneven tonal shifts, an arguably unsympathetic protagonist, and graphic content will alienate some viewers. The technical limitations inherent in low-budget filmmaking are also apparent at times.
Does the film succeed in its aims? If the goal was to create a shocking, uncompromising portrait of psychological disintegration with satirical undertones , then largely, yes. The film is unafraid to be ugly, unpleasant, and ambiguous. It forces the viewer to confront the darker side of the human psyche when triggered by guilt and fueled by drugs.
Alyce Kills is not a film for everyone. It will likely resonate with fans of extreme indie horror, tales of descents into madness, and strong female performances in dark roles. However, those seeking conventional narratives, likable characters, or who are averse to graphic violence should steer clear of this particular rabbit hole. It’s a journey into darkness that requires a willingness to embrace discomfort and ambiguity.
Film Data
| Feature | Detail |
|---|---|
| Director | Jay Lee |
| Release Year | 2011 (Festival), 2013 (VOD/Theatrical) |
| Genre(s) | Horror, Thriller (Psychological Thriller, Splatter) |
| Key Cast | Jade Dornfeld, Tamara Feldman, James Duval, Eddie Rouse |
| Runtime | 1h 30min (IMDb) / 87 min (Wikipedia) / 1h 33min (Amazon) |
| IMDb Rating | 5.4/10 (at time of research) |