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In Tenebras: Into the Darkness (2024) Review

Hands reaching out of the darkness towards three soldiers

In Tenebras: Into the Darkness (2024) Review

Siblings Josh, Chelsie and Hank embark on the adventure of a lifetime, journeying into tunnels in the rock of Gibraltar to try and uncover buried treasure, hidden deep within since World War II. However, the optimistic trio unwittingly unleash a mysterious plague codename: Tenebras and find themselves locked in a dangerous game of survival, as they race against time.

As I have often found to be the case, when researching independent flicks online for reviewing purposes, many of the user reviews that I read on a particular website prove to be too enthusiastic to merit real value. For this film the online reviewers have cited it as being a ‘superb thriller’, ‘a great watch’ and ‘a masterpiece’. IN TENEBRAS: INTO THE DARKNESS, written and directed by Martin Nuza, falls spectacularly short of any such praise. Instead the film is illogically plotted, slightly marred by inconsistent sound quality at the start and only marginally rendered watchable by the film’s score, cinematography and choice of filming location.

Our central threesome – Josh, Chelsie and Hank – basically announce to two million plus followers online that there’s WWII gold to be found and exactly where to find it. Given that the three of them have no means of lugging and transporting the gold back, if they are to find it, then surely this would ring the dinner bell for their followers to head over to the tourist location and nab the gold before the threesome do. That is just one of the many plot missteps that IN TENEBRAS: INTO THE DARKNESS makes. There is also an unnecessary subplot including a very lost looking Michael Paré and his estranged daughter, far too much bickering between the siblings and what’s left is both nonsensical and muddled.

In Tenebras: Into the Darkness on digital 17 February from Miracle Media

Trailer

In Tenebras: Into the Darkness (2024) Review was last modified: February 16th, 2025 by Sean Cockwell
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