In 1921, England is overwhelmed by the loss and grief of World War I. Hoax exposer Florence Cathcart visits a boarding school to explain sightings of a child ghost. Everything she believes unravels as the 'missing' begin to show themselves.
A group of longtime friends converge on a fatal course with destiny when they cross paths with Alexander Tatum, a mercenary surgeon. He is a hunter with the keen skill of one who has also ... See full summary »
In London, solicitor Arthur Kipps still grieves the death of his beloved wife Stella on the delivery of their son Joseph four years ago. His employer gives him a last chance to keep his job, and he is assigned to travel to the remote village of Cryphin Gifford to examine the documentation of the Eel Marsh House that belonged to the recently deceased Mrs. Drablow. Arthur befriends Daily on the train and the man offers a ride to him to the Gifford Arms inn. Arthur has a cold reception and the owner of the inn tells that he did not receive the request of reservation and there is no available room. The next morning, Arthur meets solicitor Jerome who advises him to return to London. However, Arthur goes to the isolated manor and soon he finds that Eel Marsh House is haunted by the vengeful ghost of a woman dressed in black. He also learns that the woman lost her son drowned in the marsh and she seeks revenge, taking the children of the scared locals.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
In the stage version of the original novel the dog is named 'Spider'. See more »
When Arthur Kipps (Daniel Radcliffe) first reaches Gifford Arms Inn in Sam Daily's (Ciarán Hinds) car, it is raining heavily and Arthur is shown with his clothes wet. When it cuts to the next scene where Arthur talks to the innkeeper Fisher (Shaun Dooley) at the reception counter, Arthur's clothes are suddenly dry. In the next scene still at the reception, his clothes are wet again. See more »
[voiceover, echoing in Eel Marsh House]
I will never forgive you for letting my boy die. I will never forgive. Never forgive. Never forgive. Never forgive. Never forgive. Never forgive.
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The UK cinema version was cut visually by six seconds to secure a 12A rating. In addition to this, some substitutions were also made by the distributor. This included darkening some shots to reduce the impact of their graphic/horrific nature, and reducing the sound levels in others. Some of these cuts in particular apply to a hanging scene and a scene of self-immolation. See more »
I am vividly aware, as are most avid moviegoers, of the horror movie machine. It churns out Final Destinations, exorcism films, and at an even higher frequency, ghost films. At first glance, The Woman in Black appears to be yet another of these "ghost films," where cheap scares, predictable plot "twists," and horrible acting drag the viewer down into an hour-and-a-half maelstrom of mediocrity that can only end at the appearance of "Directed by..."
According to most of the reviewers thus far, The Woman in Black was a letdown. So perhaps it is because I went into the film with no expectations that I came out of it impressed and very, very shaken. I do not plan to explain the plot to you (many have done this already and there is a synopsis which does a far better job than I could), but I will argue in favor of how successfully scary this film was. Yes, it contains ghost film elements we have all seen before, but they are cleverly and patiently arranged so that the viewer becomes totally enveloped in atmospheric dread. Sure, there are "jump" scares, but these are also complimented by many shots which unfold slowly and effectively. It sometimes reminded me of the 1961 film, The Innocents, if that gives you a better idea. Radcliffe is also a worthy focal point of the film, keeping most of the fear and anticipation unspoken throughout.
I would not nominate this film for any kind of award, but it achieves what I believe should be the ultimate goal of all "horror" movies: to draw us in so close that when our fear manifests itself on-screen, it is already too late to turn away. It rates high as one of my favorite horror theater experiences, alongside The Descent and The Strangers.
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