Beth’s a breast cancer survivor, and Jay doesn’t really know how to talk with her about what she went through. She’s also plagued by nightmarish, PTSD-style images of her body rebelling against her, either during or following a traumatic medical procedure. Jay clearly wants to make Beth feel seen and appreciated but doesn’t seem to understand or be particularly receptive to Beth’s feelings. For him, this trip is a victory lap; for her, it’s maybe the end of their time together. Then, they discover animal tracks filled with what looks like creamed spinach. A bear trap, a monster, and a raft of expository dialogue further complicate matters.
Like a lot of recent trauma-focused horror movies, “Consumed” eventually settles on its most troubled protagonist. The filmmakers’ focus on Beth might not have felt so confining if Jay was either further developed or reduced to a more convincing foil for Halverson to play off of. At first, Jay seems like a real enough problem, especially when he hovers and then smothers Beth with attention. Famiglietti makes it easy for you to believe that this type of well-meaning but unlikable personality might exist, particularly when he tries to make a ritual of burning Beth’s hospital ID bracelet. If you’ve ever been reluctantly admitted to a hospital, you know how difficult it can be to not want to scream at your uncomprehending friends and/or relatives. This preliminary section of “Consumed” credibly evokes that struggle.
Quinn, Sawa’s deranged hunter, then eclipses Jay as the main focus of Beth’s anxiety. He withholds crucial information from Beth and Jay for reasons that are somewhat obvious, but still unfold in their own time. Quinn’s also dealing with his own trauma, as you can see by the way he puffs on Beth’s cigarettes or mutters in sentence fragments. Sawa’s commitment to his role is undeniable, but Quinn never seems more than an obstacle in Beth’s path.
Still, once Quinn shows up, “Consumed” becomes more about surviving a “The Twilight Zone”-worthy threat that’s mostly implied but also occasionally visualized through suggestive, modestly-budgeted creature effects. Fans of Glass Eye Pix founder Larry Fessenden’s horror movies will already be familiar with the voracious fiend at the heart of “Consumed.” However, its identity is never as well considered here as in Fessenden’s soulful low-budget chillers.