The Witch in the Window

Was pretty intrigued by the concept, which may not have been a new one but there was potential for it to be a creepy film if done right. The title is simple but certainly grabs the attention and is to the point. Some of my horror reviews recently sound indicates someone who dislikes the horror genre, quite the contrary, it's not my favourite genre but there are many watchable and more (even classic) films in it and there is appreciation for it (as with all genres old and new).

'The Witch in the Window' is certainly nowhere near close to being one of my worst recent film viewings and have definitely seen far worse throughout my life. However, a classic 'The Witch in the Window' is not and have also seen much better films recently. It is another one of those watchable films that doesn't quite do enough with its potential but doesn't squander it, which was a relief for me having seen a lot of potential wastes and was growing tired of them.

Starting with the good things, 'The Witch in the Window' does provide unsettlement visually, with ominous photography that has slickness if not always refinement. The setting and lighting similarly are spooky. It is hauntingly scored and there is evidence of focus and momentum in the directing.

Once it gets going, 'The Witch in the Window' does boast a good amount of skin-crawling suspense and unsettling scares. As well as a surprising emotional impact in a quietly sorrowful sort of way, there is evidence of character development here and while not rich it was hardly surface level. Actually found myself caring for the lead characters and their story, which did give the film its heart. The acting is pretty decent too.

However, 'The Witch in the Window' does take too long to get going and set up with a pretty dull first 20-25 minutes that could easily have been tightened. Worse was the ending, which on top of being too easily telegraphed too early was very rushed and muddled, as well as going overboard on the bitter-sweetness.

Much more could have been done with the titular character, who should have been the star of the show but the way she is utilised and written is one of the biggest drawbacks. She is scary but has a back-story that is badly under-developed with too many things on an explanation level left unclear and then confused when explanation is attempted. Throughout the dialogue is very stilted.

Altogether, watchable but lacking in too many areas. 5/10 Bethany Cox

This is more of what I would call a Chiller - a drama with some scares thrown in so do not go into this thinking its full of gore and nasty scares type horror - Its not!

Having said that i like its lugubrious pacing as this adds to the movies sense of gloom and foreboding and I do like that type of film!

Quite a sad little film, made me feel quite chilled and that is a good thing as most movies these days just leave me laughing or wishing it was all over.

Acting was not bad contrary to the other reviews and the boy reminds me a lot of Haley Joel Osmont and does plays his part well!

Not a bad little chiller at all!

Decided to watch this alone in bed. It was a mistake haha Genuinely creepy slow burning horror. Doesn't go for easy jump scares, slowly builds the dread. Great performances by all the cast, really great cinematography. If you like your horror to have a bit more depth then give this a go

Possibly a bit slow-burning for many horror fans, but I enjoyed this one. The horror elements of the story are passable, but what really elevated it in my mind was the rapport and dialogue between father and son, which was quirky and believable. The ghost was fine, not super memorable, but with a couple effective scenes. The drama aspects of the film, however, made it enjoyable. For such a short film, it dragged on a bit at the end, which is why I docked points, but still definitely worth a look.

The most memorable ghost stories deal with loss and loneliness. In recent years, we have seen A Ghost Story and The Others as outstanding examples. The Witch in the Window isn't quite in that league, but given its modest budget, it still manages to be a superior addition to the genre.

Great ghost stories very often also include houses. So it is that a middle aged father and his teenage son begin renovating a country house in Vermont, only to start to sense that something isn't quite right - from strange smells to eerie bumps in the walls and fleeting glimpses of someone else - a woman - who seems to have come with the purchase. Then there is the neighbour who imparts the house's uneasy local reputation and the rumours about its previous owner, Lydia...

This is an economical (78 minutes) film from writer-director, Andy Mitton, that is assured enough to let its tale unfold through character and mood, without relying on jump scares and J-horror-style imagery and conventions. In lesser hands, it would fall flat. The camera lingers on naturally-lit aspects of the house and the landscape, tinkling and pensive piano underscores the isolation and quietude of the mist and the raindrops and, most importantly, the nuances of the relationship between father and son provide its backbone.

When we first meen teenage Finn, his mother is handing him over to his estranged father, Simon, listing the aspects in the modern world that make it difficult to parent well and maintain a good relationship with your child. Simon, who has his own battles with isolation, is also doubtful about his relationship with Finn ("I've managed to get you on the wrong side of 12!"), but as conversations and events unfold at the house, his love and commitment to bridging the emotional gulf become clear. This relationship is beautifully drawn in the script, with the very natural performances from both actors providing the emotional investment necessary for us to care about what happens to them. In particular, as a teenage character, Finn is well and unusually honestly written, with a thoroughly believable and moving performance by Charlie Tacker to flesh him out.

This film works so well because the loneliness of the broken son-father-mother relationship is revealed gently in the story, set against our increasing hope that it may heal, while an equally lonely force in the house seems to be setting out to threaten it. The end result is surprising, slightly unusual and often unexpected. Its conclusion is perhaps a bit less well executed than the lead up would have you expect, but it leaves you with a sad, haunting feeling, which is surely what an effective ghost story should do!