(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“An alien sound wave appears to take over a woman's body through a radio broadcast, while her disbelieving boyfriend struggles to accept her identity and save their relationship.”
Folks, I’m often confused of overthinking a premise – something that’s especially the case with independent flicks – to the point of absurdity. Of course, I’m not using this space to defend myself, only trying to point out right up front why I might find a picture like That Alien, Sound (2025) as being a bit too broad or even a touch to saccharin for my tastes. This isn’t to suggest that I didn’t enjoy it because it’s actually quite charming and maybe even a bit invigorating with its concept in spots: my issues lie with the totality of the presentation, stating categorically that it goes on for far too long for what it is, having made its simplest points more times than any audience should require.
Micah (played by Mia Danelle) is a record store clerk who – in the opening scenes – finds herself ‘Freaky Friday’d’ with Sound (also played by Danelle), literally an alien lifeform of a soundwave trapped in the ether but suddenly and unexplainably forced into the young woman’s human body. Overcome with an onslaught of sensory overload, Sound begins the journey to understanding what life could be like “on the other side of the spectrum,” eventually finding more about herself in the process than Micah was doing while being the shell’s original owner. En route to discovering a means with which to swap their souls back to the respective places, Sound comes to grips both with what life is beyond mere her simple existence while balancing out the emotional requirements of those Micah has surrounded herself with.
So … essentially, Sound (the film, not the character) is intended to be a journey of discovery, one wherein the childlike Sound (the character, not the film) embraces those daily surprises regular humans have grown to take for granted. It’s this blissful innocence that fuels some of the flicks better sequences; and I say that even though there’s literally little to no explanation for how some intellect who had zero capacity of sight, taste, feeling, movement, and bodily control knows how to use all of them (well, most of them) right out of the gate. In other words, if you’ve never eaten, then how would you know to eat? If you’ve never read or spoken or sang, then how would you know that not only you were doing them but also doing them properly? Writer/director Brando Topp only touches on such things circumstantially, instead relying on Danelle’s comic intensity to salvage the mood. Luckily, it works most of the time, and that’s a nod to both his and her effectiveness in their respective roles.
Where Sound (the film again, not the character) kinda/sorta goes awry is that a bit too much character development eventually reveals both Micah and her beau Shannon (Will Tranfo) as lovers ill-suited to provide for each other’s needs.
Micah has crossed into her ‘Social Justice Warrior’ era, essentially coming to hate just about anything and everything that goes hand-in-hand with being a responsible member of society and marital-like partnership, of which she’s seriously involved with the young man. Similarly, Shannon – who is rather thinly drawn by comparison – apparently only seeks to respond to her every request as if he’s the sole mover and shaker of her happiness; and the relationship is shown mostly in tatters through some weirdly inserted flashbacks that could’ve used a bit more context. The message here is that these two should most definitely not be together, and that robs the film’s second half – their road trip to a music festival wherein they believe they can lure Micah’s essence back into her body – of any impact. We know they’re not destined to be, so why (oh why) should we be rooting for their reunion?
To Topp’s benefit, this second half does fulfill most of the requirements of the traditional independent movie. There’s a lot of self-discovery packed into rather ineloquently staged moments – i.e. Shannon begins to realize he’s not really up for effective partnering; Sound explores homosexual sexual attraction that buds literally out of nowhere; only the truly quirky individuals need apply to such off-the-beaten path storytelling; etc. – so kudos are extended to all involved for knowing this wasn’t likely going to be a big, crowd-pleasing summer blockbuster. Again, that’s not intended as any insult because I’m a fan of flicks that know what they are and stick to a gameplan: Sound (the film) does no less.
Entirely too long to support its central premise, Sound could’ve benefited from a trimming that clarified whether or not the journey was better suited as a comedy or an indie commentary on the wider state of global affairs. Methinks it works best with its rather obvious humor of the first half that’s glaringly absent when it grows serious in the second, and maybe even the script could’ve invested a bit less with making Micah so unlikable. Her somewhat self-absorbed rants feel a bit too much like Reddit soapboxing (of course, we’re destroying our world, just look at how someone thought Reddit was a good idea), and I ended up confused at why Shannon clung to their relationship for so long in the first place but not surprised when he gives Sound the chance to give peace a chance. Who’d want to shack up with that proverbial space case when a real one was maybe right around the corner?
That Alien, Sound (2025) was produced by Poembaked Productions and Streets Ahead Productions. DVD distribution (for this particular release) has been coordinated by the fine folks at Rising Sun Media and Darkside Releasing. As for the technical specifications? While I’m no trained video expert, I can assure readers that there are no obvious blemishes anywhere in this 100-minute running-time … but there is a curious plunge into blackness that I believe was a poor artistic choice. Lastly, if you’re looking for special features? Sadly, this is a bare bones release, meaning there’s nothing much to behold except the film itself. A big miss, but what do I know?
Alas … only Mildly Recommended.
As good as That Alien, Sound (2025) is an independent feature (and it is quite good), it’s only surprisingly monosyllabic, meaning that it only hits one beat. While it’s also easy to give kudos for sticking to the premise, writer/director Brando Topp still could’ve given his talented lead a bit more to do by pushing for more experiences in this compressed road-trip-of-a-movie. Sadly, Micah (not Sound) seems to have surrounded herself with folks only interested in the here and now; and Sound (not Micah) falls fairly easily into the trap of keeping things a bit too superficial. While the script occasionally stretches for a bit more relevance, what we learn in the final reveal is that Micah (not Sound) is far too invested in ‘checking out’ anyway; and this ultimately gives Sound (not Micah) the chance to continue her odyssey in a sequel, though I’m not sure many would show up for more of the same.
In the interests of fairness, I’m pleased to disclose that the fine folks at Darkside Releasing (via Allied Vaughan) provided me with a complimentary Blu-ray of That Alien, Sound (2025) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
From the film’s IMDB.com page citation:
“An alien sound wave appears to take over a woman's body through a radio broadcast, while her disbelieving boyfriend struggles to accept her identity and save their relationship.”
Folks, I’m often confused of overthinking a premise – something that’s especially the case with independent flicks – to the point of absurdity. Of course, I’m not using this space to defend myself, only trying to point out right up front why I might find a picture like That Alien, Sound (2025) as being a bit too broad or even a touch to saccharin for my tastes. This isn’t to suggest that I didn’t enjoy it because it’s actually quite charming and maybe even a bit invigorating with its concept in spots: my issues lie with the totality of the presentation, stating categorically that it goes on for far too long for what it is, having made its simplest points more times than any audience should require.
Micah (played by Mia Danelle) is a record store clerk who – in the opening scenes – finds herself ‘Freaky Friday’d’ with Sound (also played by Danelle), literally an alien lifeform of a soundwave trapped in the ether but suddenly and unexplainably forced into the young woman’s human body. Overcome with an onslaught of sensory overload, Sound begins the journey to understanding what life could be like “on the other side of the spectrum,” eventually finding more about herself in the process than Micah was doing while being the shell’s original owner. En route to discovering a means with which to swap their souls back to the respective places, Sound comes to grips both with what life is beyond mere her simple existence while balancing out the emotional requirements of those Micah has surrounded herself with.
So … essentially, Sound (the film, not the character) is intended to be a journey of discovery, one wherein the childlike Sound (the character, not the film) embraces those daily surprises regular humans have grown to take for granted. It’s this blissful innocence that fuels some of the flicks better sequences; and I say that even though there’s literally little to no explanation for how some intellect who had zero capacity of sight, taste, feeling, movement, and bodily control knows how to use all of them (well, most of them) right out of the gate. In other words, if you’ve never eaten, then how would you know to eat? If you’ve never read or spoken or sang, then how would you know that not only you were doing them but also doing them properly? Writer/director Brando Topp only touches on such things circumstantially, instead relying on Danelle’s comic intensity to salvage the mood. Luckily, it works most of the time, and that’s a nod to both his and her effectiveness in their respective roles.
Where Sound (the film again, not the character) kinda/sorta goes awry is that a bit too much character development eventually reveals both Micah and her beau Shannon (Will Tranfo) as lovers ill-suited to provide for each other’s needs.
Micah has crossed into her ‘Social Justice Warrior’ era, essentially coming to hate just about anything and everything that goes hand-in-hand with being a responsible member of society and marital-like partnership, of which she’s seriously involved with the young man. Similarly, Shannon – who is rather thinly drawn by comparison – apparently only seeks to respond to her every request as if he’s the sole mover and shaker of her happiness; and the relationship is shown mostly in tatters through some weirdly inserted flashbacks that could’ve used a bit more context. The message here is that these two should most definitely not be together, and that robs the film’s second half – their road trip to a music festival wherein they believe they can lure Micah’s essence back into her body – of any impact. We know they’re not destined to be, so why (oh why) should we be rooting for their reunion?
To Topp’s benefit, this second half does fulfill most of the requirements of the traditional independent movie. There’s a lot of self-discovery packed into rather ineloquently staged moments – i.e. Shannon begins to realize he’s not really up for effective partnering; Sound explores homosexual sexual attraction that buds literally out of nowhere; only the truly quirky individuals need apply to such off-the-beaten path storytelling; etc. – so kudos are extended to all involved for knowing this wasn’t likely going to be a big, crowd-pleasing summer blockbuster. Again, that’s not intended as any insult because I’m a fan of flicks that know what they are and stick to a gameplan: Sound (the film) does no less.
Entirely too long to support its central premise, Sound could’ve benefited from a trimming that clarified whether or not the journey was better suited as a comedy or an indie commentary on the wider state of global affairs. Methinks it works best with its rather obvious humor of the first half that’s glaringly absent when it grows serious in the second, and maybe even the script could’ve invested a bit less with making Micah so unlikable. Her somewhat self-absorbed rants feel a bit too much like Reddit soapboxing (of course, we’re destroying our world, just look at how someone thought Reddit was a good idea), and I ended up confused at why Shannon clung to their relationship for so long in the first place but not surprised when he gives Sound the chance to give peace a chance. Who’d want to shack up with that proverbial space case when a real one was maybe right around the corner?
That Alien, Sound (2025) was produced by Poembaked Productions and Streets Ahead Productions. DVD distribution (for this particular release) has been coordinated by the fine folks at Rising Sun Media and Darkside Releasing. As for the technical specifications? While I’m no trained video expert, I can assure readers that there are no obvious blemishes anywhere in this 100-minute running-time … but there is a curious plunge into blackness that I believe was a poor artistic choice. Lastly, if you’re looking for special features? Sadly, this is a bare bones release, meaning there’s nothing much to behold except the film itself. A big miss, but what do I know?
Alas … only Mildly Recommended.
As good as That Alien, Sound (2025) is an independent feature (and it is quite good), it’s only surprisingly monosyllabic, meaning that it only hits one beat. While it’s also easy to give kudos for sticking to the premise, writer/director Brando Topp still could’ve given his talented lead a bit more to do by pushing for more experiences in this compressed road-trip-of-a-movie. Sadly, Micah (not Sound) seems to have surrounded herself with folks only interested in the here and now; and Sound (not Micah) falls fairly easily into the trap of keeping things a bit too superficial. While the script occasionally stretches for a bit more relevance, what we learn in the final reveal is that Micah (not Sound) is far too invested in ‘checking out’ anyway; and this ultimately gives Sound (not Micah) the chance to continue her odyssey in a sequel, though I’m not sure many would show up for more of the same.
In the interests of fairness, I’m pleased to disclose that the fine folks at Darkside Releasing (via Allied Vaughan) provided me with a complimentary Blu-ray of That Alien, Sound (2025) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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