Showing posts with label Ghost Stories. Show all posts
Showing posts with label Ghost Stories. Show all posts

Wednesday, 27 November 2024

Short Weird Tales: Shore


"Bethink the cost, for those who're lost,
To lay beneath the waves.
For theirs is no rest,
In loam so bless'd,
With tides they roam, In search of home,
And cry for warmer graves.


They cry for warmer graves."


Rev. A.Weiss.
The Liberduteus,
1871.

Because of its storied - often bloodied - past, Britain is reputed to be one of the most haunted nations in the world. It seaside towns, with their histories of invasion, smuggling and accidental drownings, even more so. But not all ghosts go bump in the night, and this last was a thought not far from the front of Jean's mind as she sat gazing out of the third floor bedroom window of a once-plush hotel, almost central in the sprawling promenade of a formerly opulent town on England's northern coastline.

Not yet as down-at-heel as the rest of its postcode, the wear was beginning to show nonetheless. It had been a good century for tourism, but things change, times move on, and some aspects of the past turn out to be irretrievable. And this was something that Jean would not let herself dwell upon as the flat sands of the beach below met the slate-grey September sea, expanding calmly back until it became a white, near featureless sky.

It hadn't always been this way, of course. Despite living in the same mining village, Jean had met her husband Peter on a shared coach trip to Ebbscar, and their courtship and marriage had been celebrated annually with excursions to this same town. After their only son Colin had died in a pit collapse before he'd even left his teens, the collective jollity of the group outing had seemed somehow inappropriate. But the couple had continued their holidays here alone, booking what became their favourite room in The Royal Grand, and damn the expense; you only live once.

What at first seemed like a late Summer indulgence soon revealed itself to be an essential release-valve; an escape from the stifling smog and yes, insularity, of the village. Why they couldn't move away - move here - Peter and Jean hadn't decided. But as long as they had their week by the sea then they wouldn't really need to, surely?

And now Peter was gone. His first fall had been seen as an accident, part of getting older. But the second, then the diagnosis, then the massive seizure and then the funeral had happened in a blur. Less than two months, all told. But they'd booked their room at the Royal Grand on the morning they'd checked-out last year - an ongoing game they liked to play with the knowing staff - and Jean had decided there was no better way to honour his - their - memory, than to make what was now a pilgrimage. Jean's neighbours had worried in poorly disguised whispers that the trip might be morbid, but she was determined not to let the photographs in her mind lose their colour like the ones that still adorned the sideboard.

Now she was here, and there was no colour after all. This wasn't right, surely? The amusement arcades which lined the seafront were always an explosion of light, they just couldn't be seen from this height and on the same side of the road. Jean thought she might take a stroll past them later. Not now, it looked like it might rain. Or was that fog coming in? And although there was no visible wind on the sea, it didn't look warm out there. A bracing walk would be better in the early evening when the sound of the arcades and young couples exhausted by a day's fun would serve as a distraction from thoughts upon which she didn't want to dwell. To see a bit of life.

Some of those couples ambled across the beach now. Mostly silhouettes, indistinct shapes at this distance. Families walking with excitable children, their charges impatient to get back to the blaring slot machines, and an older couple repeatedly throwing a ball for their retriever-sized dog, petting it, and then pretending not to notice its left-behind mess in the wet sand. Charming.

Almost directly opposite Jean's window stood a figure alone on the shoreline. With hands either by their side or flatly in pockets, it was hard to make out any more detail, and there wasn't enough of a breeze to ruffle either clothes nor hair. But the stillness suddenly struck Jean as odd, even against the sedentary foot-traffic surrounding it. In the time she'd been looking out on this scene, the tide had turned and the person's ankles were in the water now.

The tidal flow around this part of the coastline was notorious for swiftly cutting off holidaymakers, sea fishers and cockle-pickers from the land, and the signs up and down the promenade warning about this were almost as numerous as the local newspaper reports about those who didn't heed them. The local topography meant that when the high tide came in at Ebbscar, it did so rapidly and without warning.

Everyone on this wide stretch of beach had noted the flow and altered their trajectories inland appropriately. Everyone except this lone figure who was now stood almost up to their knees in lapping seawater. Jean wondered if this was one of those life-sized sculptures they sometimes install in towns to get articles about culture written in the Sunday supplements. But she was sure she could see the figure's trousers swaying with the incoming wavelets.

Transfixed by this dearth of activity, Jean was overcome with a feeling of responsibility. Was no-one else on the beach concerned by this? There were still a few souls walking relatively close to the unmoving, unflinching sentinel. What was this one trying to prove? There must be somebody down there who could help, and Jean creaked out of the window-side faux leather tub armchair to the bed, and the telephone beside it on the nightstand. Reception would know what to do.

There was no dial tone. Keeping the receiver in her hand, Jean clicked the connection-lever, like someone in a bad TV show. But nothing. Perhaps they hadn't paid the bill, she thought, although it was more likely that these telephones that had been in place as long as she'd been coming here were finally giving up, one by one.

Jean hung up the phone - for some reason - and skittered back to the window. Only minutes later and the water was at the figure's waist now, and still they hadn't moved. The room was suddenly very hot and Jean needed to gulp the air to breathe properly. This gave her a better idea. If she could open the window, Jean could shout down and across the beach. Not to the one standing in the sea, but to someone - anyone - else who might be able to help. What if this was someone having a stroke or a fit, and who couldn't call out? Yes they were still upright, but what if?

She managed to pry open the thin, hinged strip of glazing above her head. Apparently, health and safety dictated that on this floor, the Royal Grand didn't want anyone leaning and falling out of their windows, so these were for 'ventilation only'. The building's high Victorian ceilings meant that Jean would need to drag the tub chair undeaneath the strip and stand on its worn cushion to get her face close enough to the opening to allow her voice to travel.

And so Jean hollered. She shouted to the few remaining figures on the beach and the promenade below who all roundly ignored her. Helps, hellos and you-theres all fell on deaf ears. Fine, she'd do this herself, then.

Quickly slipping on the flat, practical shoes that Peter had bought her on their last visit to Denham market, Jean made sure she had her room key and raced - as best she could - for the door. Already out of breath from the sudden exertion, she clattered down the long corridor to the lift, startling the young man she barged past with a grunt.

Impatiently pressing the lift's call-button, Jean couldn't hear the tell-tale clunk of mechanical response, and decided to take the stairs instead. There was, after all, no time to waste. Six spiralling flights and two burning lungs later, she crashed into the hotel reception to find no-one at the desk, although a handful of guests were scattered around the large entrance lobby.

"In the sea!", Jean rasped. "Who's that in the sea??" as she gestured wildly through the revolving door at the beach beyond. This was met with blank stares or faint alarm from the onlookers, although not one of them animated themselves enough to either follow her pointing or ask for more detail.

Furious now, Jean crashed through the revolving door and onto the road outside. Crossing the carriageway and tramlines then grasping the railing which separated the path from the sands, Jean was stunned to see that the beach was deserted. No walkers and no figure in the sea. Unless they'd finally been pulled out to safety? But there'd be a kerfuffle here on the promenade, surely? Or perhaps the waves had completed their task and that person had drowned? But "no, let's not assume the worst" she mumbled to herself. But where was everybody?

The entire seafront was empty. No cars, trams nor a person to be seen. The arcades were closed, their lights switched off. The air was hot again, the absence of breeze conspiring with panic to make breathing more of a challenge. Slowly turning toward the hotel and then giving the shoreline one more theatrical glance, Jean let her angst subside and shuffled back indoors.

The reception area was entirely deserted now. Still no-one at the desk, but no guests milling around either. The cavernous silence deafened Jean as she cast her gaze over the lobby, each footfall of hers ringing like a giveaway on the polished floor as she padded to the staircase. Trundling step-by-step past the flock wallpaper, she had a moment of clarity as a voice in her head - not quite like her own - asked what she was doing. "Trying to bloody help", Jean muttered, unconvinced of the veracity of either the question or the answer.

On the first floor, Jean instinctively left the stairwell and headed out into the main corridor, structurally identical to the higher one she had come from only minutes earlier. At the end of the long, strip-lit internal passage, daylight poured in from a floor-to-ceiling window around the corner. Following the glow, and edging past the room-servicing trolley, the window looked out onto the prom as Jean knew it would. Before she reached the glass, she instinctively knew what she'd see.

While a bar of wet sand was still visible beyond the promenade wall, the tide must almost be in at its fullest now. And out there, appearing to bob gently with the waves although in fact it wasn't moving at all, was the figure's head. Except now it had turned and was facing the hotel. And while Jean could just make out its ghastly expression, she'd swear blind it was looking up and making eye-contact with this very window. Thin, dark hair was plastered down by the sea, framing an unnaturally white face against the waves. The brows punched together and upward in anguish as the face mouthed something. She couldn't make out what the words were, but there was the short, rhythmic sense of a message being repeated. A warning, perhaps.

Enough of this. Jean was only on the first floor. With renewed vigour, she stamped back down to reception and hammered the bell on the abandoned desk. There was no response or reply in the empty lobby, but Jean could swear she saw furtive movement behind the mirror-stripped 'Staff Only' door. Manners be damned she thought, and charged over to find it locked. Thumping on the door brought no answer, and although the movement was no longer to be seen between the reflective slits, Jean knew someone was breathing on the other side.

Vision now blurred by tears, she stalked - less forcefully - out onto the promenade once more. It was completely deserted and felt even more desaturated, as if colour had given up trying to fight the tide. Crestfallen yet oddly resigned, she cast her eyes over the lapping sea once more. Nothing. No figure, no head, not even a boat to be seen. Just a faint, calm line where it met the sky, which stared back in pensive silence.

Well that was that. Jean headed back inside. She doubted she'd go for that walk now. Creaking in through the revolving door, she made eye contact with the young man sitting at the reception desk. Of all the nerve. She said nothing - it was too late for that - and he responded in kind, although Jean's expression of tired and vicious resentment was met with one of embarrassed panic. Good.

Momentarily forgetting what had occurred, Jean tramped to the lift and pressed the call-button. Nothing happened. She remembered this smaller inconvenience and made her way to the stairwell. With no rush now she trudged up the six flights, stopping to regain her breath at the fourth. Finally reaching her floor, Jean stared down the corridor toward her room at the other end. It was only two doors away from the window by the service-bay, where the light of the late afternoon shone in just as it did two floors below.

Wincing slightly as she crept past her own room, Jean turned the corner, squeezed past the floor's housekeeping trolley and stood framed in the window overlooking the sea. Her heart started hammering. The water was not as featureless as it should have been by now. Jean saw the hand.

Even at this distance it was definitely a hand, there was no mistaking it. Waving. Waving at Jean, languidly. Tension erupted as she screamed and pounded on the window. No words, just a long, guttural shriek as her right hand beat out a slow irregular pattern in a grotesque mirroring of the figure's gesture below. Before strength failed her completely, she turned and raced back to her room, the blood roaring in her ears. It took Jean three attempts to unlock the door, but inside - silence.

Although she didn't want to, Jean could not help going straight to the window. But even if she'd just intended to draw the curtains and blot out the events of this damned afternoon, that would still have been a necessity.

"What are you doing, Jean?". It was Peter's voice. In the room. Their room. "What are you doing?". No. She didn't dare look round. Peter couldn't be here, but the voice was louder and sharper than a memory. It didn't ask again.

It was then that she finally buckled to her knees and sobbed, the face in the sea once again exposed by the tide and still silently mouthing as it stared into this room... and the raised arm continued to wave.

Jean's own was the only sound she could hear as she racked, wretched and pounded on the window, the wall and finally the floor. And then silence again. A much deeper silence now, unlike any she'd ever known, despite a huge clutching motion like her whole body was being drawn into a fist-sized ball in the middle of her chest. Jean could no longer hear the roar of blood in her ears. Or feel it anywhere else. And it dawned on her that the background rhythm she'd known all her life - that of her heart pumping blood around her body - had disappeared. The silence was solemn and finalising, not allowing the luxury of panic. And as the final tears rolled from Jean's eyes, she could just make out the small, travel-framed photograph on the nightstand, of Peter and her, smiling on Ebbscar beach.

~


The next day, pale afternoon clouds slowly gathered as the sun seemed to give up on lending the Victorian architecture its warmth, Jean pondered the greying scene as she looked out of the third floor window of her hotel room. She might go out for a walk later. To see a bit of life.

~ ~ ~


Every year, there is a week in September when the Royal Grand Hotel in Ebbscar does not let out rooms on its third floor. Complaints from residents have seen to that. This does not prevent the disturbances, the disruption, the building-wide feeling of unnameable dread. But it minimises them.

Because of its storied, - often bloodied - past, Britain is reputed to be one of the most haunted nations in the world. Its seaside towns, with their memories of life, love and loss even more so.

But not all ghosts need the night to go bump.




DISCLAIMERS:
• ^^^ That's dry, British humour, and most likely sarcasm or facetiousness.
• Yen's blog contains harsh language and even harsher notions of propriety. Reader discretion is advised.
• Short stories © WorldOfBlackout.co.uk, all entries are fictitious and any resemblance to actual persons, living or dead, or actual events is purely coincidental. Y'know, mostly.
• This is a personal blog. The views and opinions expressed here represent my own thoughts (at the time of writing) and not those of the people, institutions or organisations that I may or may not be related with unless stated explicitly.

Thursday, 14 November 2024

Short Weird Tales: Shelter


The best thing about being dead, he decided, was not having to deal with people.

There were other benefits too, but they paled into insignificance with the burden of obligatory interaction being lifted from his shoulders. Downsides existed, naturally, and he'd never dealt with boredom well to begin with, but all things being equal - and since he did not exactly have a choice in the matter - being dead probably wasn't as bad as it had been made out to be.

That this stance was the result of a long-considered conundrum rather than some revelatory moment of insight felt evident, although he'd be the first to admit he couldn't actually have told anyone how long he'd been not been alive. Worse, for a long time he hadn't actually known that was the case.

In a stone-built shelter overlooking the clifftops and the ocean beyond, this was a quiet, contemplative spot. Never the best at keeping track of time, his instinctive memory had been that this was a place he came to think, because of its solitude. So a lack of people was to be expected - indeed, enjoyed. They came by occasionally and for the very most part ignored him. This was fine. He'd caught the interest of a handful of children in the company of distracted or disinterested parents, although he refrained from properly engaging with this young audience. Dogs didn't seem to like him but that had been the case when he was alive, too. Nothing had felt inherently unusual.

No, it had been the slowly changing style of people's clothing - those few who passed by his way - and the developmental shift in their manner of speaking which caused him to realise all was not right. Most of the words seemed to make sense individually, but their flow and subject matter became more... abstract. It had gotten to the point where he struggled to understand overheard conversations, when he remembered he could not quite compare their utterances to others he had recently heard elsewhere. For he had recently been nowhere else. At all.

Once this perceptual barrier had been broken, more followed as swiftly as his fragmented train of thought would allow. For instance, he could not remember the last time he had been at home. Nor where that home actually was. Hazy images of a town were evoked by these ponderings, but he found he couldn't name that town. That it was within walking distance of these clifftops seemed logical, but who was to say what sway logic held?

No, the gradual realisation that he was dead was only alarming in how little alarm it caused. Then again, he'd already noticed that he wasn't conscious all of the time, so any distress it could have engendered was therefore limited in a strictly mathematical sense. This didn't feel like a cycle of waking and sleeping, more phasing in and out of being. As if existence were defined solely by the presence of self. And who was to say that it wasn't? No one, any more.

It was after this that the unease started. The restlessness. A nagging voice in the back of his head reminding him at all times that he was dead and that he should do something about it. But what could be done? He'd argue with himself that he (they?) just had to wait. To wait for what? To wait and see. To just wait.

When boredom got too much and he decided to leave the refuge, he'd take no more than a handful of paces beyond its open front before a howling, primal fear forced him to retreat to its safety. A screaming in the soul; not his screaming, but the very voice of creation assuring unending torture to any who dare defy its warning. He felt enough to believe. He'd lost count of the number of times this had happened, always forgot the intensity of the feeling before he set out again and always instantly remembered as he scurried quickly home.

Home.

Because this was where he lived now.
Well, not 'lived', but...

But there should be a system. This thought would flash into his mind in fits of agitation, when the gently crashing waves and rolling clouds failed to salve his thoughts; failed to perform the very play for which this box - this amphitheatre - had been constructed. There should be a system where he was told what was going on, what he was supposed to do and how he was supposed to do it. But there wasn't. There wasn't a messenger or an angel or a light or a tablet or a handbook. It was just this. Being trapped - sometimes contentedly so, admittedly - in a small section of a much larger everything. Life was unfair, uneven and confusing. So was death.

But getting angry about things changed nothing. Wasn't that what he'd always said? He had no idea. It sounded like a philosophy and in the absence of anyone to rail against, it was certainly proving to be true. No, the plan was just to wait. To think. To grow? To hopefully be here for whatever came next. Some conversation might be nice, although when the people were in here lately with their bright clothes and glowing hand-tiles, so might some peace and quiet. No. He was good at waiting. That would be enough.

If he'd ever been able to walk around the stone building, the rough-hewn brick wall facing outward over the clifftops, he'd have seen a large, inbuilt engraved block bearing the legend:


FOR PETER.
TAKEN TRAGICALLY FROM US IN A MASONRY
COLLAPSE WHILE BUILDING THE SHELTER
IN THIS, HIS SPECIAL PLACE.
MISSED BY ALL, ESPECIALLY ELIZABETH & ANN
1881


Although if Peter ever managed to read that, it would no doubt spark the memory that it was his own fleeting, distracted daydreaming and absent-mindedness while he was supposed to be working that had caused the wall to come down in the first place.

C'est la vie.




DISCLAIMERS:
• ^^^ That's dry, British humour, and most likely sarcasm or facetiousness.
• Yen's blog contains harsh language and even harsher notions of propriety. Reader discretion is advised.
• Short stories © WorldOfBlackout.co.uk, all entries are fictitious and any resemblance to actual persons, living or dead, or actual events is purely coincidental. Y'know, mostly.
• This is a personal blog. The views and opinions expressed here represent my own thoughts (at the time of writing) and not those of the people, institutions or organisations that I may or may not be related with unless stated explicitly.

Saturday, 2 November 2024

Short Weird Tales: Wait


It rains.
He waits.
Standing at the corner.
He watches the house.
Why isn't she home yet? Where is she?
He can't go in the house until she's home.
Where is she?
The house in darkness.
Maybe she's at a friend's?
No, she'd have mentioned that.
Remember.
Where is she?

It is light.
He waits.
He practices what he's going to say.
He's sorry he's late.
He's sorry about the car. Remember.
He's sorry.
No wait, she knows about the car.
No, she can't know.
Or she'd be here. Or he'd be there.
Where is she?
He's sorry, anyway.

It is dark.
He waits.
A light in the window, she's home!
No, wait. That's not her.
Who is that?
Who's in the house?
It's not her. And it can't be him, so...
Maybe she has friends over?
No, she never does that.
Remember.
He can't go in the house until she's home.
Where is she?

It is light.
He waits.
He can't wait in the car.
Remember.
Look, about that--
No, someone's coming out of the house.
A stranger.
But when did they go in?
He didn't see that.
She must be in but he needs to know.
Where is she?
He needs to know she's home before he can go.

It rains.
He waits.
The car. Oh god.
It doesn't hurt, he's just--
Remember.
Where is she?
Why hasn't she come home?
Who are those people in the house?
How much longer can he wait here?
What happens if she doesn't come home?
Why is he waiting?
Why can't he remember?

It is dark.
So tired.
Why won't she come home?
It doesn't hurt.
Remember.
It hurts.
He can't go home.
Maybe she can't go home?
But where is she?
Remember.
The car. Oh god.
He can wait.


It rains.
She waits.
Standing by the church.
She watches the corner.
Why won't he just go in the house?
She can't go home until she knows he's alright.
She waits...




DISCLAIMERS:
• ^^^ That's dry, British humour, and most likely sarcasm or facetiousness.
• Yen's blog contains harsh language and even harsher notions of propriety. Reader discretion is advised.
• Short stories © WorldOfBlackout.co.uk, all entries are fictitious and any resemblance to actual persons, living or dead, or actual events is purely coincidental. Y'know, mostly.
• This is a personal blog. The views and opinions expressed here represent my own thoughts (at the time of writing) and not those of the people, institutions or organisations that I may or may not be related with unless stated explicitly.

Tuesday, 17 April 2018

Review: Ghost Stories





Ghost Stories
Cert: 15 / 98 mins / Dir. Jeremy Dyson & Andy Nyman / Trailer



Well it's not often I get to walk out of a horror movie, excited by how much I loved it and just glad to be back in the light of the foyer. To do this twice in one week seems unheard of*1.

Ghost Stories is an anthology-format feature film from Andy Nyman and Jeremy Dyson, adapted from their stage play of the same name. In it, Nyman plays Professor Phillip Goodman, a paranormal investigator who specialises in debunking claims of the supernatural and exposing charlatans on the 'stage medium' circuit. When he's called to a dilapidated caravan park in Yorkshire by Charles Cameron, a retired debunker and one of Phillip's similarly-minded idols, our hero is presented with three 'unsolved' cases. Speaking with the originators of each experience, Goodman slowly realises that something connects their inexplicable stories, and that link may be closer to home than he likes...

Now on paper, this should be a pretty standard affair. Although titled Ghost Stories, this is, make no bones about it, a horror film*2. With segments taking place in an abandoned asylum and a car which breaks down in the woods at night, it's not so much that the film is 'textbook' in its approach, more that this is a lesson being taught with that textbook.

The nested storytelling is like an Inception of the macabre, beginning with urban decay, slamming doors and an escalating sense of suffocation. The third tale in Goodman's investigation goes to the windswept moors and a spacious, empty nursery, changing gears with unfettered agoraphobia, reminding the characters and audience alike that they're not safe anywhere*3.

Ghost Stories is, quite frankly, terrifying. Gleefully sadistic in its scares, even though it's a celebration of well-used mechanics in the genre. For the seasoned horror fan, the film acts as its own challenge to the cynical, as we become Goodman, the skeptic being preached to from all sides on the importance of belief, but still stubbornly waiting to be scared by the ride.

The roots as a stage-performance are evident throughout, but this adds to the intensity of the piece. Nyman and Dyson understand on a fundamental level that having someone hear strange noises in a derelict building isn't scary. Horror lies more in fear of the unknown than the reveal (which is why you generally don't show the monster in a first act), but to convey that sense of utter dread, the viewer needs to relate to the character experiencing it. Enter Paul Whitehouse and Alex Lawther, separately recounting their supernatural encounters and assuring the twitching audience that they'd fare no better in the same situations. The performances all-round are an acting masterclass. Martin Freeman is also in the film.

Each story seems to end without a definitive payoff (other than the knowledge that the teller of each tale survived to relay it to the interviewer), but it's all wrapped up in the finale. Ghost Stories' pulling together of the threads is magnificent. Again, there's little actual twist in 'the twist' if you're sitting second-guessing, but the storytelling follows the rules of the genre with absolute distinction.

These are the creative fruits of the tree watered with Hammer House of Horror and books that we were too scared to open*4. A movie which knows the key difference between telling its audience when to be frightened, and just frightening its audience.

Ghost Stories is masterful. As someone who has seen enough mediocre horror to have become thoroughly bored with the genre, I can give this no higher recommendation...



So, what sort of thing is it similar to?
Tales Of The Unexpected, The League of Gentlemen and, oddly enough, Mindhorn.


Is it worth paying cinema-prices to see?
It is.


Is it worth hunting out on DVD, Blu-ray or streaming, though?
All of the above.


Is this the best work of the cast or director?
It could well be.


Will we disagree about this film in a pub?
We wouldn't disagree about this because you'll love it, too.
Won't you
.


Is there a Wilhelm Scream in it?
There isn't.


Yeah but what's the Star Wars connection?
Level 1: That Canto Bight jail guard is in this.


And if I HAD to put a number on it…


*1 I'm afraid I don't really categorise my reviews by genre, so it's more than the work of a few clicks to backtrack and find out, I'm afraid. As regular readers will be aware, I'm as harshly critical on horror as I am comedy (each having a very specific brief), so I know for a fact that me liking two horror flicks within the same half of a year is unusual, never mind in the same week... [ BACK ]

*2 Back in August, I told Mrs Blackout (who doesn't like horror movies) she'd love A Ghost Story as it's not a horror but an actual story about ghosts. Ghost Stories, on the other hand, is co-helmed by Jeremy Dyson, whose televisual and literary work she enjoys, yet she'd make it about seven minutes into this film before having to leave the room... [ BACK ]

*3 Speaking of the audience, there was an advert for Taylor Swift's UK stadium tour in front of this film. That's not an unusual type of product in itself, but there's normally some broad demographic link (a similar promo ran for N*ckleback in front of The Huntsman) - that's generally how advertising works. But the Taylor Swift advert didn't run before A Wrinkle In Time on the same day. Who do the film distributors think is watching Ghost Stories, exactly? [ BACK ]

*4 But kept opening anyway... [ BACK ]


DISCLAIMERS:
• ^^^ That's dry, British humour, and most likely sarcasm or facetiousness.
• Yen's blog contains harsh language and even harsher notions of propriety. Reader discretion is advised.
• This is a personal blog. The views and opinions expressed here represent my own thoughts (at the time of writing) and not those of the people, institutions or organisations that I may or may not be related with unless stated explicitly.

Friday, 30 August 2013

Review: The Awakening

World of Blackout Catch-up Review

The Awakening Poster

The Awakening (Spoiler-free)
Cert: 15 / 117 mins / Dir. Nick Murphy



More of a supernatural thriller than an outright horror, The Awakening is the story of an author and sceptic who accepts a job at a boys' boarding school after the first World War (the trailer says 1919, the movie says 1921, what can you do?), after sightings of a ghost have lead to the death of one of the pupils. As the building is emptied for the holidays, hallways echo and voices from the past make themselves heard…

On the plus side, the desaturated colour palette and wisely used camerawork gives the film a beautiful antique, claustrophobic feel reminiscent of The Others. The frights and chills are wholly expected, but delivered with a restrained perfection. As a ghost story, it sets out its stall and sells its wares beautifully. Rebecca Hall, Dominic West and Imelda Staunton all give solid performances perfectly in keeping with the atmosphere.

That said, it seems to owe a lot to stories you've already seen or read. That's not a deal-breaker when it's told as solidly as it is, but the further in to the film you get, the less it has to offer. Don't focus too much on the destination, and just enjoy the ride. As is usual with this sort of thing, a lot of the story's power lies in the first telling, so avoid spoilers if you can. Best watched in the dark.


Is the trailer representative of the film?
Yes.


Did I laugh, cry, gasp and sigh when I was supposed to?
Yes.


Does it achieve what it sets out to do?
Just about.


Buy, pay to rent, or wait until it's on for free?
Pay to rent.


Will I think less of you if we disagree about how good/bad this film is?
A little.


Will I watch it again?
At some point.


Is there a Wilhelm Scream?
There isn't, no.


And because you won't be happy until I've given it a score...


And my question for YOU is…
Where can I get me one of those torches that seems to illuminate nothing but my face as I'm tiptoeing around the house at night?



DISCLAIMERS:
• ^^^ That's dry, British humour, and most likely sarcasm or facetiousness.
• Yen's blog contains harsh language and even harsher notions of propriety. Reader discretion is advised.
• This is a 'catch-up' review. I watched this film at home, not at the cinema. I saw the trailer for this at the cinema, and I would have seen the film there too, but they didn't/couldn't show it. So now iTunes, Amazon, Netflix and Blockbuster get to reap the rewards of my local's advance-advertising, and I'm sure they're delighted. Now you may say "oh come on, they can't show everything down there", and that would be a valid point if they didn't do things like running Taken 2 for six weeks. Was it that successful? No, I don't think so. Twilight? Batman? Les Mes? Sure, go for it; if they're pulling the punters in then keep making that money. But Taken 2? I ask you. Anyway, this is essentially a DVD review, but still of a new(ish) film. There. I'm glad that's sorted.
• This is a personal blog. The views and opinions expressed here represent my own thoughts (at the time of writing) and not those of the people, institutions or organisations that I may or may not be related with unless stated explicitly.

Tuesday, 21 February 2012

Review: The Woman in Black

CAUTION: Yen's blog contains harsh language and even harsher notions of propriety. Reader discretion is advised.

The Woman in Black poster

The Woman in Black
95 mins / Dir. James Watkins

As a ghost story, The Woman in Black is a bloody solid hour and a half of entertainment. As a horror film, it's held back by the fact that it's a Cert 12A, and that it falls into a very familiar trap in no time at all...

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The Plot: Arthur Kipps (Radcliffe) is a young London-based solictor sent to Yorkshire to deal with the estate of a deceased client who has left no relatives. When he arrives in the small coastal village of Crythin Gifford, the superstitious locals are on full alert, and a series of untimely deaths do nothing to lighten their mood. Kipps skepticism and nerve are both put to the test as he determines to unravel the mystery of The Woman In Black...

The The Good: What I said back at the start; It's a good ghost story. Formulaic? Sure. But it's a Hammer production of a 1983 novel which is an Edwardian (ish) ghost story, so there's not exactly a lot of new ground to cover. The plot unfolds at a leisurely pace (for the most part), with the major exposition points teased out nicely. The sets and costumes all appear to be in good order (to my untrained eye), although there's a surprising range of accents to be found in such an isolated village.

The Bad: I can't deny that there is suspense in this film, and that there are jumps. But that's largely because the audience is beaten so solidly over the head with them. If no-one's speaking and the music stops, it's like a red flag goes up telegraphing the imminent jump. The best shots are the ones where the ghost(s) are standing innocuously in the background as the camera sweeps past, unseen by the characters on-screen. There are a few of those shots, but not enough to build the suspense that way. This film would be so much better if it had stuck to creepy until the finalé, because that's when it's interesting. That said, the toys in the nursery are a bit overkill. We know they're sinister, Daniel, you don't have to set them all off at once...

The Ugly: On a personal note, I could have done without the final scene (not what happens at the end, just literally the final scene). It seemed a little saccharine for my taste and robbed the film of an end in keeping with the story. It didn't ruin the film for me, I just don't get why it's there.

Worth a punt? For me? Yes. I like the traditional structure and feel of it, which is sorely lacking from most contemporary horror. I'd have preferred more of a focus on 'the victims', but the movie would be outside of its 12A bracket then. Not that that should matter when you're trying to market this type of thing.

It's good, but there are seeds of greatness in there...

5/7

It's a 12A. Take your kid, it'll freak them the fuck out and set the bar at a decent level for ghost stories! ;)

Quick question for those who've seen it: The train at the end... there's only one line running through the village, so why does the next train arrive so quickly after the first? Just a thought.


DISCLAIMERS:
• ^^^ That's dry, British humour, and most likely sarcasm or facetiousness.

• This is a personal blog. The views and opinions expressed here represent my own thoughts (at the time of writing) and not those of the people, institutions or organisations that I may or may not be related with unless stated explicitly.