“Don’t go into the woods,” altogether too many characters have been warned through the annals of spooky literature and cinema, only to do so anyway, but Rebecca Hall has no choice because she alrea…
clearly relishes the tropes of the horror genre and everything that comes with them. Honestly, though, we’ve been down this dark and woodsy path so many times that, no matter how many scares and shock cuts can be squeezed out of this crafty little thriller, this is a tree that’s long since been shorn of most of its leaves.
After her architect husband Owen offs himself with a gun, Beth elects to remain in the house, even after she confides to her pals that, “I feel like there’s something watching me.” Under the circumstances, this turns into an open invitation for all things creepy to converge upon the isolated widow, beginning with the predictable bumps in the night that quickly morph into odd-hour phone calls and a naked man putting in an appearance in the lake just outside the house.
But charity does have its limits. As Bruckner pushes through into the story’s second half—and with Beth becoming increasingly convinced that her husband had long concealed a secret private life—the story becomes an excuse, or a launching pad, for ever-escalating and far-fetched flights of fancy that tax viewer credulity and patience.
The closer the film gets to having to resolve itself and make Beth’s obsession pay off, the less credible and the more contrived it becomes. Perhaps the point of it all is that Beth has to push herself to great extremes of paranoia, fear and dark imaginings to definitively come to grips with what has happened to her husband and herself.
The film is deftly crafted, with cinematographer Elisha Christian, who has dwelled for years in the camera department in various capacities and also shot the excellent indiefour years ago, doing a notable job. Also registering well is Stacy Martin, who is perhaps finally ready to emerge from the shadow of Lars von Trier andRead More About:
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