Ink (2009)

It's rare enough, but still possible for a movie to knock my socks off. Such a movie is Ink, an amazing little indie from 2009 that defies easy categorization.

Ink tells the story of a widower, John (Chris Kelly), a high-power corporate raider with a raft of personal problems, and his estranged daughter, Emma (Quinn Hunchar), who has been abducted by a strange figure in a black robe—as it turns out, the title character himself. Ink is a being on a mission, and while his purpose in kidnapping Emma is far from noble, it is understandable as it is revealed over the course of their journey. It is no less dark for being understandable, however.

Fortunately for Emma, there are another group of beings trying to save her. From the get-go, these "angels" (they're not really, but they function that way) do all they can to stop Ink. The opening fight is well orchestrated by writer/director Jamin Winans and his talented crew; it goes on just long enough and features some solid fight choreography, a real surprise for a lower-budgeted film. Along the way a particular one of these beings, the storyteller Liev (Jessica Duffy), attempts to rescue Emma and becomes Ink's second captive intentionally. Her role in this unfolding drama is absolutely critical, and Duffy is up to the challenge every step of the way.

Ink is aiming to join a group of dark beings called the Incubi, and they require a sacrifice; thus, Emma. But Liev knows more about Ink than he knows.

Meanwhile, John is hard at work in the "real" world, trying to cement a major deal that will propel his firm to the next level—or break it, if it falls through. Kelly's performance as John is outstanding; he conveys the stress weighing down on this main character ably throughout, and made me feel his weight throughout. In flashbacks, we see that John lost his beloved wife to an auto accident, which sent him hurtling down a path of workaholism and alcoholism that resulted in his estrangement from Emma, their daughter.

Ink leads us through John's journey, and Ink's, as parallel paths, and the two storylines overlap and intertwine in a consistently compelling way. Credit the creative minds, Jamin and Kiowa Winans (who handled art direction and costume design, both highlights of the film), for developing a thoroughly engaging story that is every bit as earnest as it is well constructed. Its fantasy elements are credible within the story's logic, and only once did the dialog slip to snarky patter in a way that detracted from the film as a whole. It's more than made up for by the heart-on-sleeve storytelling (no pun intended) that makes Ink a wonderful experience, with an impact that reminded me of the Brad Anderson film The Machinist and a bit of the old Powell and Pressburger classic, Stairway to Heaven. The closing scenes of Ink ring of truth—make that Truth, the big-moment kind. And it is the perfect conclusion to one utterly satisfying movie experience.

For all its low-budget slip-is-showing moments, Ink registers powerfully with the heart, something movies manage only on the rarest of occasions these days. For that alone, it's highly recommended.