The number of underrated actresses in today’s industry is so vast that any cinephile can bring a different name to the table and present solid arguments. Personally, one of the names at the top of my list is none other than Ash‘s lead, Eiza González. From Baby Driver to The Ministry of Ungentlemanly Warfare, passing through Hobbs & Shaw, Godzilla vs. Kong, and Ambulance, the Mexican actress has jumped from supporting role to supporting role. This time, however, she takes full control of rapper-turned-filmmaker Flying Lotus’ (V/H/S/99) latest work.
Jonni Remmler’s (Das Quartett) screenplay blends horror and sci-fi, setting the narrative on a distant planet where an astronaut wakes up to find her spaceship crew brutally murdered. Riya (González) has no memory of who she is or what happened, and the arrival of Brion (Aaron Paul), a man who supposedly knows her and came to rescue her, only adds another layer of distrust to her growing paranoia.
Ash is precisely the type of movie that captivates me the most. From the overarching mystery to the uniquely isolated setting, not to mention the immersive loneliness of an unknown planet and the many horrors such an environment naturally creates, Lotus had the perfect premise for a high-entertainment experience with untapped potential. Yet, the genre’s formulas become apparent quite early, meaning the film’s success would always depend on the execution of each technical and narrative element.
That execution turns out to be a mixed bag: almost every component of Ash has both strengths and weaknesses. The sparse action sequences are often shot using shaky cam, sometimes creating unnecessary visual confusion, especially considering that the film is already darker than usual due to the lack of natural light. Nevertheless, when cinematographer Richard Bluck shifts to a first-person perspective, the sequences gain a much more engaging physicality and ruthlessness.
As previously mentioned, the spaceship’s dimly lit setting is justified within the story, but Bluck takes advantage of this limitation by crafting a colorful lighting scheme that enhances the movie’s visuals. Ash also incorporates numerous cut-ins of Riya’s memories as she recalls what happened – always a risky creative decision, as it can quickly make the viewing experience heavy and repetitive. Fortunately, Lotus handles these psychedelic flashes reasonably well, keeping them from overwhelming the narrative while also offering a score that perfectly complements the ominous atmosphere.
Still, not everything works on a technical level, particularly the visual effects and the use of ADR. The VFX depicting the exterior and the planet itself leave much to be desired, while the too-frequent ADR feels noticeably artificial and even forced at several points. Thematically, Ash doesn’t really explore its ideas, instead skimming the surface of familiar topics like human perseverance in the face of adversity and colonialism. The story follows several well-known formulas and clichés of the genre, but the underwhelming third-act revelations, despite holding promise early on, turn out to be far more predictable than the first act suggested.
Despite its issues and a somewhat slow initial progression, Ash is greatly elevated by González’s magnetic performance, who – pardon my own cliché – carries the entire flick on her shoulders. Whether in close-ups capturing Riya’s sheer terror, action scenes that the actress mostly performs herself, or moments where the protagonist is emotionally shattered, González proves she can lead a film with a fully committed, compelling display. Paul (Breaking Bad) gets significant screen time, but despite his solid portrayal, all the standout moments belong to González.
Final note for viewers: avoid the main trailer at all costs. If curiosity gets the best of you, Ash has a short teaser that keeps its most intriguing questions unanswered, unlike the official trailer, which not only reveals too much but shows too much.
Final Thoughts on Ash
Ash doesn’t bring anything new to the genres it blends nor does it explore its themes in particularly thought-provoking ways, but it still delivers an intriguing experience, driven by an immersive atmosphere and a truly captivating lead performance. Eiza González’s magnetic presence alone makes the movie worth watching, and there are technical aspects worthy of praise that contribute to an engaging experience. A film of extremes, where its best moments shine as much as its flaws, but one that ultimately earns a recommendation.
Rating: B-
Ash will be in theaters on March 21, 2025.
Learn more about the film, including how to buy tickets, at the official website for the title.
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