It’s a safe rule of thumb in cinema that nothing good ever happens in a lighthouse: Boats are steered into calamity, people plunge (or are pushed) to seagull-pecked death on the rocks, and let’s not even start on what happened to poor Alicia Vikander when she married a lighthouse keeper. The fourth feature from Welsh genre journeyman Chris Crow, “The Lighthouse” follows squarely in this glum tradition, building a low-level psychodrama around two sparring guardians of the same rickety wooden beacon as adverse weather drives them into danger, madness and worse.
Based on true, tragic events from the early 19th century that led to a critical change in British lighthouse security practice, Crow’s film is a generally capable but oppressively dour chamber piece, its mounting claustrophobia never quite breaking the full horror sweat it threatens — even as the heavens crash and a hellmouth seemingly opens at its delirious but budgetarily constrained climax.
Based on true, tragic events from the early 19th century that led to a critical change in British lighthouse security practice, Crow’s film is a generally capable but oppressively dour chamber piece, its mounting claustrophobia never quite breaking the full horror sweat it threatens — even as the heavens crash and a hellmouth seemingly opens at its delirious but budgetarily constrained climax.
- 7/5/2018
- by Guy Lodge
- Variety Film + TV
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