Star Rating: 2/5
For years now, the horror genre seems to have lost its way. Few horror films, such as Audition, Martyrs and The Orphanage, have been genuinely scary. More often than not, horror movies have been poor excuses for comedy, such as Jennifer’s Body and The Wolfman. The Woman In Black continues this worrying trend for a genre that’s in a crisis.
The Woman In Black is based on the book with the same title by Susan Hill, which has also been adapted to the theatre. The film is set at the turn of the twentieth-century. It is about Arthur Kipps (Daniel Radcliffe – Harry Potter I-VII(ii), Kill Your Darlings), a young lawyer and single parent, following the death of his wife, Stella (Sophie Stuckey – Driving Aphrodite, The Dark, Comedown). Arthur is on his final warning at the solicitor’s firm he works for. Consequently, when he is given the task of managing the estate of Alice Drablow, who owned Eel Marsh House, a mansion in the middle of nowhere in the gloomy north-east of England, he cannot say no.
The estate is old and slowly rotting. No-one has lived there for years. Those who dwell in the nearest village, except for Daily (Ciarán Hinds – The Debt, Tinker Tailor Soldier Spy, John Carter), who befriends Arthur, urge Arthur to stay away from Eel Marsh House. The villagers believe that the estate is haunted.
Arthur, though, is determined to see his task through and goes to Eel Marsh House to do his investigation. But whoever goes there sees the woman in black. And whenever she’s seen, children die mysteriously soon afterward…
The movie’s plot is as original as The Wolfman and Fright Night. Alike those laughable films, The Woman In Black has merely a few instances of the shock-factor. One would think that a creepy horror thriller would hold its audience in suspense, as The Shining and I Still Know What You Did Last Summer did so well. But, akin to Jennifer’s Body, The Woman In Black hardly makes the adrenaline pump.
The Woman In Black’s storyline is made to look even worse because it makes as much sense as John Carpenter’s (abominable) The Ward. By the end of the film, amongst many failings, one knows little more about the woman in black than when he/she started the movie. Viewers are aware that this dead woman has an eye for vengeance, but what drives her? Why does she appear every time a child dies in the local village? (Indeed, why would she limit herself to that small place when she can terrorise all of England or the world?) One cannot help but ask oneself why director James Watkins (Eden Lake) did not at least try to explain the woman in black’s motives.
The plot’s poverty is reflected in the acting (even if the script gives them little chance to shine). Daniel Radcliffe hardly plays better here than he did in the Harry Potter series. He shows little emotion when trying to be affectionate towards his infant son, or when he is grieving for his deceased wife. This entails that viewers cannot feel anything for Arthur when he has to temporarily leave his son to go to Eel Marsh House. Radcliffe is also unable to shirk off his type-cast in The Woman In Black. As a result, whenever phantoms go near Arthur, one secretly believes that Harry – I mean Arthur – will simply pull out the Elder Wand and zap the dark ghosts into oblivion. This undermines Radcliffe’s attempt to be a professional solicitor in this movie.
Similarly, the quality of the acting from the supporting cast fairs equally badly. The usually reliable Ciarán Hinds performs below his normal standards as Daily. Janet McTeer (Tumbleweeds, Island, Albert Nobbs), Daily’s wife, appears little in the film, and when she is given screen-time she plays a two-dimensional mentally unwell person. And the rest of the cast, the villagers, merely play one-dimensional unwelcoming, superstitious freaks, meaning that the audience cannot relate to them or take them seriously.
Just like the acting, the make-up and special effects in The Woman In Black are neither poor nor noteworthy. The woman in black, herself, just looks like a gaunt and hideous doll behind a blurry veil, whilst the dead children look like they have life in them. Additionally, the costumes and the hairstyles don’t look plausibly like they’re from the early-1900s either, which gives viewers more reason to view this movie with contempt.
Over-all, The Woman In Black is (yet) another pitiful horror film. It has few redeeming features, save for a couple of scary moments to justify the movie’s place in the genre. The Woman In Black is not as risible as other recent, aforementioned horror films. But the movie’s inadequacies are symptomatic of a genre that’s in dire need of a revamp.