Psychology seems to be a very popular subject in the movies these days, most notably the theme about what separates our dreams from reality. In movies like “Waking Life,” “Mulholland Drive” and “Vanilla Sky,” the barrier between what is real and what is not comes crashing in an interesting and sometimes destructive way. Could there be a reason why we’re having certain dreams? If we don’t let go of the past, will it prevent us from going on to the future? These are interesting questions that have been explored in many films, and they get an almost supernatural treatment in the new drama, “The Path of Fear.”

The movie takes its subject much more seriously than most. It asks relevant questions and tries to offer honest answers. Are they correct answers? I don’t know, but I can definitely appreciate the fact that the movie has the courage to take a stab at it. “The Path of Fear” opens almost deceivingly. A group of high school kids go to an old abandoned theater to goof off, and once they arrive, we get the usual colorful banter, false alarm scares, and creepy noises. But then we realize this is the way the movie is establishing its main characters, and it provides the introduction for how everything will fall apart.

We meet Renee (Marie-Claire Hardy), a nice girl who is still in love with Jake (Joey Ferguson), her former boyfriend who is now dating one of her close friends, Meg (Natalie Jones). Then there’s Brooke (Julianne Dowler), and she’s dating Sam (Matt Weatherly), an immature and sarcastic kid who doesn’t seem to take much seriously. Renee experiences something strange at the theater after learning about the death of Olivia Miller, a little girl who jumped off the balcony in 1929. Things take a stranger toll when Renee and Jake have a heart-to-heart talk that angers Meg, and leads to a nasty car wreck which leaves Jake dead.

These opening events send each of the girls’ paths on a collision course. We sense that Renee will have difficulty moving on when she says, “Jake is all I’d ever hoped for.” One year later, she’s in college, still with that thought in her head. Nightmares involving the dead girl and Jake dance through her mind. The second act of the movie is introduced by a visit to Renee’s psychology class, taught by Dr. Craven (Joey Watson, playing a character loosely based on Wes Craven). He gives an interesting lecture on abnormal psychology and how it affects us, tapping in mostly on our emotional fears. These fears tend to be repressed, and can stem if we hold onto events of the past.

Craven’s lecture is crucial, but the character serves a larger purpose as well. He and Renee are both lonely people, and they connect due to their intellectual interests. There’s a scene where they cross paths in a bar, share a dance, and then a kiss. I understand the point of this kiss, but at the time it occurs in the movie, it felt all wrong. The event is supposed to be closure for both characters, but it seems a little premature. Joey Watson, who also co-wrote, co-produced, and co-directed the film, is very good as the wise and open Craven. He has a certain low key charm and honesty that gives the character a comforting and believable personality.

The other girls are also having difficulties moving on. Brooke catches Sam cheating on her with her college roommate, but she’s not angry that Sam is fooling around on her; she’s jealous of her roommate, who is giving her affection to someone else. Brooke is still discovering who she is. The scene where she confronts Sam and her roommate is wonderfully written and performed. It’s one of the most painfully honest scenes of its kind I have seen in a while.

Meg is dealing with guilt for Jake’s death. If she had not gotten angry with him that night, would he still be alive? Meg drowns her sorrows in a bottle of whisky. We see her dreams, and while they may seem puzzling at first, we later realize why she was having them. Natalie Jones, who usually plays the flirtatious sexpot in Old School’s films, is heartbreaking and convincing as a girl tortured by guilt and fear. Equally as good is Julianne Dowler, who has a tricky role as a girl who is confused about her sexuality, and even when she begins to realize how she does feel, there seems to be hesitation in admitting it.

"The Path of Fear" builds slowly as we experience the way these three girls must cope with the things they can’t let go of. Their struggles eventually take them to a psychologist, well played by Carolyn Spratley. She acts more like a gypsy than a doctor, for her session with the girls foreshadows secrets which will arrive during the movie’s climax. I have seen “The Path of Fear” three times, and I am still having trouble discovering how I feel about the last fifteen minutes. There are some effective moments during this section, but a part of me feels like the movie has too much closure. There are open ends in a sense, but only after other things are given a satisfactory wrap up.

"The Path of Fear" was directed by Brad Ellis, who is sharing a credit this time with Joey Watson. With each new film, Ellis proves his skill behind the camera in the way he sets up shots, but even more so in the way he lights them. Ellis takes the director of photography credit too, and I still think this is his strongest talent. Just look at a scene in which Renee has a conversation with her mother, who is sitting in the dark next to a window. Only half of her face is lit, giving her a mysterious and creepy image. With “The Path of Fear,” Ellis has expanded his talent after the equally stylish “Halloween 2000.” That movie was an entertaining exercise, while this one deals with interesting issues.

I criticized Ellis in my “Halloween 2000” review by saying he didn’t do a very good job working with actors. This time around, he has proved me wrong. Everyone is top notch here, including Marie-Claire Hardy. Her performance is one note, but considering she has never acted before, she is able to pull it off without many flaws. I am looking forward to Ellis’s next project. With “The Path of Fear,” he has proved himself to be a director capable of creating suspense and tension in drama. And Joey Watson and John Moore’s screenplay is smarter and more honest than many of the ones that come out of Hollywood. “The Path of Fear” is not a perfect film; it does get a bit heavy handed at times. Nevertheless, it stands out as a mature and confident piece of work.

Grade: B+