Maine coastal town Harrison Bay is broke, so deputy mayor Drew Cabot arranges a deal with a contractor to develop the abandoned lighthouse for tourism. Father Hendry fails to convince the ...
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Janey is sent to a silent meditation retreat, in the woods, for rehabilitation, only to realize that the men who run it are brainwashing women, and if she breaks the rules, she'll discover what lurks beyond the trees.
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A naïve and socially repressed June hits the road with her new boyfriend, Max, on their first romantic trip down the coast. When a hitchhiker suddenly winds up dead in their RV, June can't deny the overwhelming thrill and lust for blood.
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Stephanie Van Dyck,
This time-travel thriller is set in an alternate time, a world where history has unfolded differently. Rez played by Patrick Buchanan (Belfast Story) lost his wife sometime in the past. Now... See full summary »
Two years into the outbreak, the remaining people struggle day to day for survival. With the infected more active at night, three people seek shelter in an empty home, but with supplies scarce, they'll be lucky to make it out alive.
Ryan M. Andrews
Richard Roy Sutton,
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During a violent thunderstorm, a family is awoken by piercing shrieks which summon the dead to rise again. Their lives explode in a blood soaked fury as they battle malevolent spirits, ... See full summary »
Maine coastal town Harrison Bay is broke, so deputy mayor Drew Cabot arranges a deal with a contractor to develop the abandoned lighthouse for tourism. Father Hendry fails to convince the town council to veto the project. He also invited, sneakily, Katelyn Parks, who was foster-raised out of state after her father Christopher was locked-up for her mother's murder there. Once the basement is broken open, new bloodshed starts, and the horrible truth about the past is slowly unveiled.Written by
This movie fails because the plot violates the fundamental rule of story telling.
When telling a story, the focus of the plot should never shift from one genre to another. For example, a romance should never morph into a mystery. A whodunit should never morph into a tale of the supernatural. A comedy should never depict an incidence of death or maiming so intense that the audience perceives it to be real. To shift from one genre to another in mid-story jars the audience, causes confusion, and shakes them from their temporary reverie. They are transported back to the real world and the story dies because they can no longer participate in the fictional construct.
"Behind the Wall" is an unsatisfying story because if violates this fundamental tenet. It begins as a horror tale (bloody death of the wife/mother by an unknown force) and a warning not to venture into the basement, then morphs into a ghost story (death was the act of a ghost as opposed to a living monster, human or otherwise), morphs again into the totally unreal (characters go missing, dead bodies appear and disappear - something beyond the ability of even a ghost), then transitions yet again into the tale of an unsettled ghost that can only be pacified by the death of his living betrayer. To further weaken the plot, a priest gives a dire warning but offers zero rationale, and a budding romance is introduced which changes our focus from horror/ghost story to "will boy and girl get together?".
No movie can survive this uneven level of fictional reality regardless of its production quality or acting talent.
The actors in "Behind the Wall" are believable. The story is not.
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