Both as a bloody “old-school” shocker as well as an elaborately crafted thriller, this movie delivers the goods. It’s safe to classify this as interesting entertainment.
Kudos to the production team who had brought us the nerve-racking “The Woman In Black” and “Let Me In” a long way back. They were tales of the macabre and of retro horror.
“The Quiet Ones” proves to be a lot more grim.
Impeccably stylized after the vintage scare movies of the 1970s, this is the latest “keep-you-on-edge” offering from Hammer’s.
The oft din and clang of creaky movements that breaks the silence of a haunted-house and the exorcism tropes positioned at every corner are enough to spew surprises most foul.
As well as a delver into the found-footage verite which is an absorbing exercise to heighten the thrills and spins.
There is nothing original about this genre of spooks as the theme is well-worn and had been done to death.
But it is the director’s treatment, as in any good feature that will keep us glued to the silver screen.
The film claims that the plot was inspired by true events (don’t they say that with every horror story)?
It stars Jared Harris (Mad Men and Sherlock Homes: A Game of Shadows), Sam Claflin (The Hunger Games: Catching Fire) and Olivia Cooke (Bates Motel).
The film director is John Pogue who follow closely a screenplay by Tom de Ville.
The synopsis:
Tucked away in an estate outside of London, Professor Coupland (Jared Harris) along with a team of eager university students conduct an “experiment” on Jane Harper, a willing young girl who harbors bizarre fears of herself being “taken” by a poltergeist.
Nobody in the team can fathom the dark forces that lurk within her, threatening to erupt any moment.
Oxford, 1970s.
Here student Brian McNeil (Sam Claflin) attends the class of one professor (Jared Harris) argues his disdain of ghosts.
He decides to uncover more about the planned experiment and was ultimately invited to film the entire experimental process.
He is soon to discover the real persona of Coupland.
His two assistants Krissi (Erin Richards) and Harry (Rory Fleck-Byrne) are having sexual trysts.
The apparent patient, a consenting innocent looking girl called Jane Harper (Olivia Cooke) is a morbid young thing who cannot shrug off the stigma of her past. She has devilish symbols appearing on her skin.
Jane locks herself in a room to indulge in her “victimized” traumas, with loud rock music blasting away.
Whatever the case and after a disturbing initial encounter with her, Brian is frightened, but intrigued. He is falling in love with the “victim” and wants to protect her. Hence the complications.
The director keeps the going tense and atmospheric for the film’s first hour.
He then eases into an ending that’s a little more like a Hollywood standard.
The audience will be glad to cut him some slack as he is the “knight in the shining armor”. Alas!
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