Review by LL Soares

I’m always thrilled to find a Hammer film that I hadn’t seen before. There aren’t many, but when I came across one entitled THE DEVIL’S OWN (1966), I didn’t realize it was the same thing as THE WITCHES. It stars former Hollywood leading lady Joan Fontaine (also in REBECCA, 1940, SUSPICION, 1941, and JANE EYRE, 1943) as Gwen Mayfield. When we first see her, she’s working in Africa for a missionary school, and is gathering her things in preparation of fleeing. Jungle drums fills the air as she has her servants pack up her books in boxes, that is until they see a strange fetish object that looks like a knife with a feather head. The servants immediately flee, and the front door opens to reveal someone in a gigantic mask (the face mask covers their entire body).

We then jump ahead of England. Ms. Mayfield has recovered from a nervous breakdown and is interviewing for a job as a teacher in a small town. The interview, with priest Alan Bax (Alec McCowen, also in Hitchcock’s FRENZY, 1972, and THE AGE OF INNOCENCE, 1993) goes well, even though she admits to her previous illness. She moves to the village and meets Alan’s sister, journalist Stephanie Bax (Kay Walsh, also in OLIVER TWIST, 1948, SCROOGE, 1970, and THE RULING CLASS, 1972) and then the local villagers. Things seem to be going well, when Gwen notices that the villagers seem awful determined to break up the relationship of two teenagers. The boy is the son of the local handyman, Bob Curd (Duncan Lamont), so Gwen at first assumes that it’s an issue of snobbery, but the more she investigates, the more she is convinced that the girl, Linda Rigg (Ingrid Brett, also in THE LAST TYCOON, 1976, and DEADLY PASSION, 1985) is in danger. But before she gets too close, she sees figures similar to those she saw in Africa, and has another breakdown!

At first, she’s unable to remember what has happened when she wakes up in a “nursing home,” but she gradually remembers and realizes that she is being held there against her will. She escapes and goes back to the village, only to learn the sinister truth behind the villagers and the young girl they have fought to keep pure.

THE DEVIL’S OWN is an interesting little film, mainly because its storyline is so subtle. In a weird way, the buildup almost seems a bit similar to the classic THE WICKER MAN (1973). I really enjoyed the Hammer films that dealt with occult matters (such as this one and THE DEVIL RIDES OUT, 1968), and leading lady Fontaine is quite good here as Gwen.

The screenplay is by the great Nigel Kneale (THE ENTERTAINER, 1960, FIVE MILLION YEARS TO EARTH, 1967), based on a novel by Peter Curtis. The film is directed by Cyril Frankel, who also directed episodes of THE AVENGERS (in 1968) and JASON KING (1971 – 1972).

There are some unusual story elements, including the fact that Alan Bax is not a priest at all, but only dresses up as one in times of stress to calm himself (!), and the secretive plot once we find out what the villagers are up to. THE DEVIL’S OWN is a good one.

© Copyright 2018 by LL Soares



Movie Review by LL Soares

I’m always thrilled to hear that a movie is going to be scary. As a long-time horror fan, I know that truly scary movies don’t come around very often. A movie hasn’t genuinely scared me since I was a kid, but I’d relish the chance to experience that feeling again. So when HEREDITARY came off a very buzz-worthy screening at the Sundance Film Festival, and went on to get headlines like: “Welcome to the Scariest Movie of 2018” (Rolling Stone), “HEREDITARY is the most traumatically terrifying movie in ages” (AV Club), “HEREDITARY’ hype is real: It’s insanely scary and tough to shake off) (USA Today), and “HEREDITARY is going to scare the bejesus out of everyone” (The Boston Globe), I was no doubt excited about seeing it. Finally, a movie that had genuine scares! And what a cast, featuring Toni Collette, Gabriel Byrne and Ann Dowd.

Which brings me to my issue with the movie. I sat there, waiting for the big visceral scare that everyone keeps alluding to. And waiting. And waiting. And it never came. There’s a scene where something heartbreaking happens to one of the main characters, but it’s not scary, just tragic. And I kept waiting for the big ending—thinking that was where the scares had to come—and found myself…underwhelmed.

So, let’s get something out of the way right away. HEREDITARY is not the scariest movie in years.

Which is not to say it isn’t a great movie. It’s just not as damn scary as everyone wants us to believe it is.

Aside from those headlines I quote above, I went into this one as blind as I could. I didn’t want to know much about the story. I definitely didn’t want to know what was so scary about it, or what to expect. I wanted to be surprised. Because nothing emphasizes the joy of a real scare as much as it being a surprise scare. And I’m glad I avoided any real details about the film. It made it that much enjoyable.

Annie (Toni Collette) and her family are getting ready for a funeral. Annie’s mother has died. It sounds like she had a long, drawn-out death and after years of not speaking to each other, Annie took her mother into her house for the last years. Despite this, Annie wasn’t very close to her mother, who was clearly a difficult person to live with, which complicates the grieving process. How do you process the grief you feel for someone you loved but didn’t necessarily like? When they get home, Annie even asks her psychologist husband, Steve (Gabriel Byrne) “Should I be sadder?” I thought this was an original and affecting way to start the movie off.

It’s also interesting what Annie does for a living, creating tiny dioramas—dollhouse-level furniture, people and scenes—that are incredibly detailed. This is a unique profession for someone in a horror film (or any kind of film), and provides a literal microcosm of the bigger world. Especially when traumatic incidents occur and Annie creates tiny versions of them in order to cope.

Like most families, the one at the heart of HEREDITARY is dysfunctional, with a lot of resentments and guilt simmering just below the surface. If the death of Annie’s mother doesn’t make it all bubble over—because she wasn’t a very nice person, presumably—a second death occurs that is much closer to home, and much more tragic. This second incident, in fact, threatens to destroy the family with grief. And the trauma it causes seems to multiply as the movie goes on.

It’s then that this atmospheric, emotionally-draining film gets to its more horrific elements. Unfortunately, we’ve seen most of these elements before, and a strange, unique film begins to seem more familiar.

I won’t go into too much detail, but there are some bits and pieces reminiscent of classic films like ROSEMARY’S BABY (1967) and THE OMEN (1976) here, as well more recent (and lesser) films like PARANORMAL ACTIVITY (2007), and OUIJA (2014), as denizens of the afterlife seem to invade the real world. The fact that these elements aren’t necessarily new (including the much-vaunted ending), means the movie utlimately feels an old car with a fresh coat of vivid paint.

But, despite some familiar tropes, there’s a lot to love about HEREDITARY. To begin with, the acting is superlative. Toni Collette—don’t forget, she was also the mom in the classic THE SIXTH SENSE, 1999, as well as being in television series UNITED STATES OF TARA, 2009 – 2011, and movies like FRIGHT NIGHT, 2011, HITCHCOCK, 2012, and KRAMPUS, 2015—a totally underrated actress, is terrific as Annie, the heart of this film. While not always about her point of view, HEREDITARY is mostly her story, as she comes to grips with grief in many forms, and possible mental illness. Which takes us through the well-trodden “is it real, or is it happening in an unbalanced mind” theme, and yet, the movie doesn’t belabor this. You eventually realize that yes, Annie is unstable, but she’s also dealing with very real dangers.

Gabriel Byrne is the “normal” one in the family, the rational, compassionate adult who tries to steer his family through these emotional storms, but because he’s so normal, he’s not very affective when things get really weird.

Alex Wolff and Milly Shapiro are pretty damn great as their kids, Peter and Charlie. Charlie is a clearly odd 13-year-old who mostly keeps to herself and channels her alienation through creativity. She draws a lot and creates strange dolls out of unusual household items. When she snips the head off a dead bird for one of her dolls, it all seems especially creepy, and yet she’s a sympathetic character. Wolff’s Peter is a troubled adolescent who has clearly gone through a lot, and while he doesn’t stand out at first among the family members, he is the one who is fated to endure a lot of the most awful stuff the movie has to hurl at them. His performance is often understated, but powerful. After the harrowing incident that occurs half-way through, Peter goes into a pit of shock, becoming powerless in his fear and grief, that is both surprising and utterly believable.

Ann Dowd—so ubiquitous these days, appearing in everything from Hulu’s THE HANDMAID’S TALE to such other above-average TV shows as TNT’s GOOD BEHAVIOR and HBO’s THE LEFTOVERS—also shows up as Joan, who meets Annie at a grief-counseling support group, but slowly reveals she’s more intimately involved in all this than we thought.

Ari Aster, who wrote and directed the film, does an amazing job with his feature debut here, after making several short films, including THE STRANGE THING ABOUT THE JOHNSONS (2011), that got a big response online. HEREDITARY is a terrific start, and Aster is a filmmaker to watch.

I also enjoyed the cinematography by Pawel Pogotzelski. And the music by Colin Stetson at first felt a little overstated and intentionally sinister to me, to the point of being intrusive, but eventually it faded into the background and seemed quite effective.

My early statement that I didn’t find the movie scary is not in any way meant to diminish that it’s an exceptional film that’s worth your time. My point is simply that it is being hyped in a way that I found disingenuous. It’s not the scariest film in ages, but it does have unsettling moments, and a visceral tragedy inside it.

It’s still a great little film. Just don’t expect to lose much sleep over it.

I give HEREDITARY a rating of three and a half knives.


© Copyright 2018 by LL Soares