Do Not Disturb

The beautiful sweeping shots of the Miami skyline during Do Not Disturb could almost have the viewer recalling David Caruso’s monotone voice. But these don’t have the oversaturated colours of that programme. These are pristine but greyer seemingly more in tune with what the reality of the city is, and what goes on.

Its into these buildings that Chloe (Kimberley Laferriere) and Jack (Rogan Christopher) arrive at for their honeymoon. Newlyweds they may be but the relationship is long and souring even with this supposed reboot. While waiting for their room Chloe becomes acquainted with Wendy (Janet Porter) and Wayne (Christian McKenna) an odd couple though clearly in love. Almost the opposite to Jack and Chloe who are sparring as soon as they get into their room.

Not exactly getting off on the right foot Chloe casually agrees to meet for lunch – hoping they won’t. Of course, they bump into them at dinner and its tense until they are asked if they ‘party’. Jack is immediately interested with the couples ending up in a room with the likelihood that they’ll be swinging too. That is until Jack bottles it when he sees Chloe dancing with Wayne while he’s being pleasured by Wendy, his cowardice and rampant sexism coming to the fore later on.

Nevertheless, a drug fuelled night sees Chloe and Jack wake up on a beach with a crazed man throwing his stash at them then walking into the sea. Some basic research informs them that they have quality material on their hands that they just cannot resist trying. The effects of which are weird to say the least.

John Ainslie’s writing and direction splits open the rotting carcase that is Jack and Chloe’s relationship. The two main protagonists are interesting up to a point. It maybe intentional that Jack is cast as a bore and an oaf ensuring the sympathy is with Chloe. Jack rarely rises above the mentality of a juvenile as he goads her and spikes the salsa even after a toxic night that sees them indulging in carnal feeding on themselves and others.

This isn’t a trippy joyride of a film, it’s actually quite ugly in parts as there’s not much of a sense of guilt about their actions. With timelines crossing, memories jolted and blood all over the place the hotel room is soon resembles a charnel house. Its claustrophobic and grim as they realise what they have done and have to do.