The Deaths of Ian Stone

The Deaths of Ian Stone takes the plot device of Groundhog Day and turns it upon its head. Our protagonist ends every afternoon as a murder victim, only to be resurrected at an alternate period within his respective timeline. A brilliant story progresses between tense moments, and just enough information is divulged at these intervals for one to truly enjoy Ian’s dilemma.

Mike Vogel (Cloverfield) portrays Ian Stone, a man who is balanced just outside of true potential, or certain failure, according to societal standards. Upon the surface, this would constitute an average character, but therein lies the potential of writer Brandon Hood’s screenplay. The film allows for Ian Stone to be seen at the extremes of this spectrum; from deskwork within a corporation to the contrasting depravity of a drug addict, the character of Ian Stone is readily available to the audience. And he has the best lines.

The only bridging between Vogel’s character and his unsteady fate is a vague memory, a hint of something beyond his comprehension; and a constant, in the form of a Good Samaritan, whom is aptly named Gray (Michael Feast). The combination of the two, along with Ian Stone’s feeling of dislocation, instigate him toward his confiding to his girlfriend, Medea (Jaime Murray). Her response is less desirable than the diffidence of a high school virgin—but equally heartbreaking, and Ian is left to Gray’s ambiguous, yet constructive, comments.

The only deterrent to this film is the ending. Clocking in at 87 minutes, The Deaths of Ian Stone provides a solid hour of intrigue, in addition to the character development that derives as an acknowledgement of that necessary progression from the filmmakers. Even most skeptics can easily become consumed by the avalanche, which contains an enjoyable cohesion between actor, director, and writer toward the climax; it’s only just before that last apex that the bolts rattle, the ride begins to shake, and you decide that you don’t want to finish the roller coaster.

The remainder of the film produces empathy, akin to witnessing an underdog within a photo finish. You knew it didn’t have a chance; you were pleasantly surprised as it pulled ahead of the pack; and you watched breathlessly as it stumbled just before the finish line. The Deaths of Ian Stone is so close to portraying a developed story that it hurts to see it lose. “You were so close!”

Watch it. When you see the ridiculous latex outfits, and Medea begins hissing: pull out! You have enjoyed it enough. Everything good must come to an end, and we’ll certainly keep watch for more Brandon Hood developments. Hopefully, ones that don’t involve wearing Slip ‘N’ Slides, or long-winded speeches just before the antagonist leaves the room.