Albie and Penny, a young couple with a failing marriage, try to rekindle the fire by having a night out by themselves. To make matters worse, the couple returns home to armed strangers. With no help from their neighbors or law enforcement, they attempt to get evidence of the intrusion. They’re captured by the intruders and tortured for information. There’s no hope until Albie escapes and saves Penny. So hellbent on revenge, he puts their marriage on the line. Unfortunately, all help has been compromised and there’s nowhere to run.
With a flailing marriage and erratic home invaders, THE HIVE has all the elements of a solid Twilight Zone-inspired feature. But this indie is more of a buzzkill.
The performances swing widely. The score, while fine on its own, doesn’t match the over-the-top portrayals of everyone beyond Penny and Albie. Even Timothy Haug and Christine Griffin give us lackluster chemistry.
The set is not a house in which two small children reside. While the script states they’ve only been in their new home for two weeks, there isn’t a single toy on the floor or family portrait on the mantle, just a couple of balls in the backyard. But, an array of greeting cards hang on shuddered closet doors. Nothing makes sense.
The plot is glaringly apparent to everyone but Albie and Penny. Once revealed an hour and ten minutes into the runtime, the fact that our invaders have to explain and then begin to bicker while the score ramps up its intensity, things get increasingly eye-roll-inducing. I think there is supposed to be some overarching social commentary, but the film lost me, somehow flipping from thriller to comedy, and I wasn’t sure if that was the film’s intent.
Despite the classic sci-fi concept, THE HIVE could have been a 15-minute short.