Patrick has seen The Hallow. Find out his thoughts right here. Don't be scared.
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| "It's my favorite position." |
Horror movies often walk a line not present in other
genres. A horror movie can be a “bad”
movie, by some objective measure, and yet still be a perfectly enjoyable work
of horrific fiction. This phenomenon can
take many forms – über violent slashers devoid of story or care,
monster-of-the-week fare with abysmal acting, or even the occasional
unintentionally hilarious horror campfest.
The Hallow falls into none of
these categories, but still manages to walk the line between “bad” movie and
“good” horror – occasionally plunging deep into one side or the other.
Offering competent performances from its extremely small
cast, and some tight and occasionally gorgeous camerawork, The Hallow certainly succeeds from a technical standpoint. In fact, from a purely technical perspective,
the film is far better than the sum of its parts. Director Corin Hardy, in his first feature
film, demonstrates a rare appreciation for the subtlety necessary for a great
horror movie. After an arguably too slow
first act, the tension is ramped up dramatically, with several hold-your-breath
moments with clever and occasionally claustrophobic shots. Sometimes a terrifying bit of imagery is
hidden in the frame, and in others the audience may find themselves simply
imagining them. It’s precisely the sort
of beautiful, atmospheric horror that many fans of more nuanced entries in the
genre can appreciate.
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The set design captures the unspoiled beauty of rural
Ireland, and much of the horrific imagery of the film deftly melds practical
and computer-generated effects, often seamlessly. The third act also gives the audience several
clear and uninterrupted views of our villains, allowing the design and effects
to be better appreciated – a moment often missing from other modern horror
movies.
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| "Ahhhh, so that's where Uncle Benjen's been hiding." |
Technicality aside, however, The Hallow is less than impressive.
The film’s small cast of characters are one-dimensional and
predictable. Adequately well-performed,
namely by Game of Thrones alums
Joseph Mawle and Michael McElhatton, much of this shortcoming falls on a weak
script and sparse, sometimes uninteresting dialogue. Thematically the movie encounters a few
pitfalls as well. The well-tread “home
invasion” moments are utilized often, but only rarely with any real impact. The film hints at some more true-to-life
horror in its themes of deforestation and biological mysteries, but neither are
explored in any real fasion.
Score
-Patrick B. McDonald