Dead Mail // And Tropes That Should Die

I’m always excited about the new batch of movies that Shudder releases every month. I am determined to stream their entire catalog, but I often find myself playing catch-up. From the golden oldies to the freshest horror flicks, I have plenty to stream. I began my week with The Black Cat (1984) and The City of the Living Dead (1980), and then worked my way up to Stephen Cognetti’s 825 Forest Road, and finally, Dead Mail. I’ve read many reviews, and I have been reflecting on a few impressions I’ve formed. This chilling, ambient thriller may satiate the horror fan; however, I am left wanting something. I can’t quite put my finger on it, so I thought about this film for a few days.

Dead Man Walking

Dead Mail, written and directed by Joe DeBoer and Kyle McConaghy, is now streaming on Shudder. To start, a brief description involving a piece of dead mail and the somehow related kidnapping of a synthesizer engineer in the ’80s sounds intriguing. At no point could I have even guessed what was to transpire. Save for one thing, a trope that is so hardwired into the plots of all horror that it cycles in and out of popularity as a funny plot point. Spoiler alert for anyone that might need to narrow it down- the black guy dies first.

An injured and bound man emerges from a home using every minutiae of strength to crawl over to a mailbox with a blood-stained note in hand. Simultaneously, a panicked man rushes to him in an attempt to stop him. Now, cut to a post office in a random midwestern town. First, we are introduced to two women engaging in the usual back-and-forth to pass the time while working. Ann (Micki Jackson) and Bess (Susan Priver), along with Jasper (Tomas Boykin), are assigned to the dead letter department, but it’s Jasper who steals the show.

Retro Thriller

Most of the film’s mood and tension lies in the superb performances of truly great actors. The characters are unique, and their emotions are raw and genuine. There’s an unsettling energy in their authenticity in this tale. Usually, I am wary of the number of films randomly occurring in the ’80s. It’s rare to capture the essence of the decade in the typical retro horror, which often highlights neon colors and Madonna-inspired fashion. Although the ’80s soundtrack is always killer, there is no influence from that over-saturated rose-colored look in Dead Mail. It is gritty, and nothing appears forced.

The setting, rooms, homes, and offices, coupled with costumes, makeup, technology, and speech, were reflective of a more authentic ’80s feel. The period wasn’t to add a “retro” feel. It’s the details of this decade that bring the story to life. Life in the ’80s required labor, tangible resources, and physical effort to complete most tasks. It’s an innovative tool, a brilliant background, and a driving force in this thriller.

Additionally, the music of Dead Mail is both naively tranquil and ominous when needed. There is so much detail casually weaving in and out of each moment and adding to its overwhelming discomfort. We have a spectacular 360-degree view of the entire film, albeit from an uncomfortable front-row seat.

Leave it to Die

Josh (Sterling Macing Jr.), a synthesizer engineer, is being held against his will by his creepy benefactor, Trent (John Fleck). Trent is awkward, and his actions are threatening and uneasy; his presence makes you want to crawl out of your skin. You can see the ulterior motive in his every word and movement. At first, Josh is happy to work with Trent, hoping to complete the synthesizer of his dreams. However, Trent seems more obsessed with the man than with the music itself. I know nothing of the technology or music, and yet it feels almost silly that it’s so crucial to the film’s mood. I promise it’s not.

Finally, the icing on the cake was the characters themselves. There lies the fault in writing and casting. Jasper (Tomas Boykin) is casually cool. His voice is strong and soothing. The character is excitingly intriguing. Jasper works like a seasoned detective, almost mechanically yet delicately, with a keen eye for detail. This lone scrap of paper with scribbled writing is handed to him, and there is no question that he will track down the unknown sender. And then he’s gone. There was an exciting buildup in what he was doing to find the writer of said note. His death was a letdown, and I was left with a hole in my interest in any conclusion.

Guess Who Dies First

I have read numerous great reviews of this film, and since I also have an opinion, I decided to add my two cents. I am mentally exhausted, and I don’t intend to defend my critique. Moreover, I am also not trying to drag this particular film down because there are already many out this year with similar issues. Witnessing the abuse and murder of POC in life and then so much more on-screen makes it hurt more. This is fiction, and why is this the default? What was the reason? We see it so often that you probably don’t notice anymore, or don’t care. However, I do not have that privilege. And I do care.

Josh and Jasper are two Black men, and they are shown beaten and/or murdered at the hands of a psychopath (a white man whom I also thought suffered from bad writing). They are all powerful in their presence. Even so, we don’t get a background on any of them, and there isn’t much to write about in terms of dimension. Mystery is excellent for an antagonist, but the situation required more details surrounding the characters we are supposed to care about. That’s one of the issues in the writing. The other is what occurs on script and what appears on screen. There was no shock in losing Jasper so early in the film, but a sense of frustration and disappointment. Who is responsible for the continued ignorance of the issues of systemic racism in film casting?

Do Better

Obviously, I am not getting any answers, and the tropes continue to be written into the script, with the lines sometimes spoken by the characters themselves. Recently, at a screening of Clown in a Cornfield, one of the characters, a Black teenage girl, states that she will be the next to be killed because she is Black. What a great laugh. We don’t need a demonstration. Another Black student was tossed onto the kill list unceremoniously. It doesn’t matter who else dies after or along with this trope because it’s still on the screen! It’s not the only one. I have already noted it a handful of reviews of new horror movies this year that echo this tired treatment of POC and queer characters in (specifically) horror. Notably, the only predictable thing in Dead Mail was the demise of its POCs.

I can’t recommend Dead Mail, nor will I be watching it again. I was able to watch it until its conclusion and could objectively write about what I think most will probably appreciate. However, I also felt that it was long and dull at points, with no depth in the characters, and the mystery felt less dire and more frustrating than anything. And as for the poor choices in keeping cliches and old tropes alive, do better.