We open with two friends in a changing room of a Rugby club who are both winding down from a sweaty game of sport. After a quick chat, Tom (Russell Brown) calls for his friend Mikey (Sebastian France) but we see electricity glowing from behind a close door after he gets no reponse. As Tom goes to investigate there is an attack from people (or creatures) unknown.

Setting up the mystery with a sense of intrigue, the film cuts to Rebecca (Ashleigh Aston) who arrives looking for them both and calls her friend Andy (Greg Hobbs) who explains Tom’s shocked condition.

Discussing how Tom has previously had personal problems, she requests Andy comes down to help in the emergency as we see Tom sitting alone, spouting strange words and with blood on his injured face.

Tom’s history of issues and mental breakdowns also sees another man James (John Messer) arrive to assist. To help with the sense of foreboding darkness, the lighting is intentionally dark, but the film is sadly still a little underlit at times.

But it does move at a pace before the director begins to move into more traditional horror territory. “I’ve got to get out of here” and “can’t you see it?” explains the disturbed Tom before something in the corner of the room turns the air electric and we hear the spooky voice of a baby crying “mummy”. And a pumping score and music effects containing strange chirping sounds has been created by Benjamin Doherty which adds to the sense of the unreal.

The director has used some horror techniques from famous films including Alien (corridors and an unknown infestation), Invasion of the Body Snatchers and a bit of Cloverfield perhaps. Not so original though is the use of mobile phones, which is never the most exciting of ways to convey dialogue and a black-eyed doll which seemed both a cliché and out of place with the more outer-space aspects.

As the eeriness continues, some floating lights and special effects occur but the appearance of a “being” is sadly a bit underwhelming and could have done with more work on its visual effects. And a final reveal is all but stolen from one of the most successful TV shows of the last 5 years which is a big shame to end on.

The VFX are much better on a shot where light emanates from Tom’s infected neck and after all the confusion Mike finally reappears to Andy scarred and disfigured in some excellent make-up effects. 

Is he infected by an alien presence? Well, you’ll just have to watch as he beckons Andy to follow him. And as otherworldly screams reverberate down the corridor, the film’s end may signal the arrival of something much more monstrous.

The film therefore has some great little sequences and scenes but as a whole, it doesn’t quite hang together with some improvements needed in the VFX and certainly some more originality needed. Phenomenon does wear those influences loud and proud though, so if you want to see a promising yet familiar sci-fi premise then it may just ‘infect’ you in the right ways.