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Cardellini plays Anna as a woman who has never seen a horror movie. She screams on cue, flees in all the wrong directions, hugs her children as if that will protect them from a murderous ghoul. In other words, she nicely creates a true-believer persona, even if the script never gives her much to do. Both Christou and Kinchen are notably solid as well. Out of her fright-mask, Ramirez conveys a hint of unhinged emotion. And Cruz, Thomas and Amendola are effective as the useless men trying to offer assistance.

These films are almost ludicrously toothless. Neither the writer nor the director bothers to build the threat of real nastiness into either the story's everyday set-up or spirit-world terror. All that's left is to sit back and enjoy the freak-out atmospherics that transform each ordinary scene into a potential nightmare in which a woman in garish, grisly makeup will suddenly appear in a tattered white dress and try to grab one of the living. Laughter is the appropriate response.

themes, language, violence

24.Apr.19

This approach leaves the cast adrift. Parker has the most coherent character, the only one who is grounded in a sense of reality. She's consistent right through the film and has some dramatic moments that resonate. July is in a constant state of confusion that often feels ridiculously overplayed. And while Howard shows enormous promise as a young actress, with some pungent moments that demonstrate real talent, the role is badly undefined.

Is Madeline performing for her acting class? Is she struggling with her mental state? Is she just bristling against the world around her like a normal teen? She does all of these things and more, with the result that the character never quite takes root. But perhaps Decker's intention was to create this kind of disorienting, abrasively visceral experience rather than try to tell a story the audience can connect with. It's a bold approach to mental illness, but by giving in to her artsy-fartsiness, she ends up failing to grapple in any meaningful way with an important topic.

themes, language, violence

19.Mar.19

The young cast of newcomers is excellent, capturing distinct attitudes and feelings in each of these young people, which gives their interaction a strong kick of emotional resonance. Varey's Trevor and Creed-Miles' Pogo are the most fully formed characters, driven by their respective yearnings to make some life-changing decisions along the way. Imrie's Malcolm also has strong presence; his role is somewhat clownish, but the actor brings pathos to this boy's unresolved passion.

Basically, each character here is a teen stereotype, rebelling against life as they try to work out how they are going to grow up. Buckhurst and Cameron both add a freshness that allows deeper truths to seep through, helping the audience see elements of themselves in each one of these kids. The direction particularly brings a sense of honesty and introspection even in the silliest moments. And while the stagey style of writing might leave this as an arthouse movie, it marks the actors and filmmakers as ones to watch.

themes, language, violence

16.Jan.19