Pedestrian and lackluster throughout much of its early sections, The Void manages an odd startling logic towards its denouement that may tilt some unbeknownst viewers in its favor. Also employing pragmatic (sans the usual bland CG) imagery which counters folklore intonations that prove rather obfuscating at times.
Writing/directing tandem Jeremy Gillespie and Steven Kostanski (known for their aplomb in art direction and make-up effects, respectively, having collaborated previously in these departments on the profitable Suicide Squad) borrow elements from the oeuvre of John Carpenter and H.P. Lovecraft, as well as Clive Barker for a crowd-funded creature feature bound to sate horror aficionados with a different kind of encroachment; ultimately one that delivers more gore and barbaric activity, skimping mostly on its characters and coherent storytelling (often common in the genre).
Thematically, though, birth, death and resurrection has significance to the auteurs who show potential for more genuine flair than this creepy, well-intended Canadian production that puts more detail in many of its frames than expected.
Aaron Poole's Carter is the daring, good-guy cop who moves James, a wounded man to an understaffed hospital (with Kathleen Munroe as his estranged wife and head ER nurse Allison) due for relocation after a fire with a father, Vincent and his mute son after James. Of course, Carter's noble act turns out to lead to a nightmarish gateway where clues may be found in the run-down health care facility's basement. Something's up off the bat as a supposedly benevolent nurse Beverly (Stephanie Belding) optically terrorizes a patient and soon a plethora of shrouded folk with dark triangles on their faces surround the place wielding hunting knives.
Also, figuring in the inexplicable torment with particular metamorphoses that becomes touched by tentacle monstrosities, the occult, as well as the celestial are those like a pregnant woman (Grace Munro), a high-strung, sardonic intern (Ellen Wong) and a state trooper (Art Hindle). Maybe Kenneth Welsh's rather cognizant Dr. Powell (not letting on what he really knows) has the most intriguing character in The Void where the inward and abstruse hook up with the Grand Guignol (80 gallons of fake blood were reportedly used) for explicitly pervasive wallops and surging fondness for haunting 1980s cinema.