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Thursday, February 2, 2012
MOVIE REVIEW
The Woman In Black
When A Lawyer (And A Film) Works Much Too Hard
Daniel Radcliffe as widower London lawyer Arthur Kipps in "The Woman In Black",
directed by James Watkins.
CBS Films
by
Omar P.L. Moore/PopcornReel.com
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Thursday,
February 2,
2012
"I work through the night," says Arthur Kipps (Daniel Radcliffe) about a two-thirds of the way
through the horror-thriller "The Woman In Black", directed by James Watkins and
based on the book by Susan Hill, with script adaptation by Jane Goldman.
This film works beyond the nightshift and double time to make you afraid.
"Woman", which opens tonight at midnight across the U.S. and Canada, is about
widower Arthur, a 19th century trusts and estates
lawyer sent north of his London home into the countryside to clean up paper work
at a late eccentric woman's grand, empty abode.
Arthur has a couple of days to tighten loose ends of the deceased lady's estate
and head back to London. Arthur's son Joseph, before a trip with his
nanny, notes his dad's dour expressions. "You always look like that,"
Joseph says wryly. Arthur wades through the sourness of a remote village
full of cold, cautious and disdainful faces. Arthur isn't welcome.
Neither Mr. Watkins nor Ms. Goldman ever really tells us why until it's too
late, and in the meantime we're left with only the scowls of adult townsfolk and
children who are rapidly perishing due to the wrath of a woman in black haunting
everyone in sight. It isn't worth spoiling the ending or midpoint
revelations but definite clues early on and later inform how this stale exercise
in horror cliché will end.
Numerous films in the supernatural thriller-horror genre have accomplished what
Mr. Watkins tries but fails to do: balancing good scares with a tight, efficient
and identifiable plot. "The Woman In Black" is top-heavy with scares that
dry up -- scares employed for the sake of scaring. Much of Mr. Watkins'
film and its events lack clarity or definition so that we, like Arthur, are
swimming in murky and mucky waters.
Poor Arthur. In contrast to some movie lawyers (Matthew McConaughey in
last year's "The Lincoln Lawyer") he doesn't let down his hair. Buttoned
down, trapped and expressionless, Mr. Radcliffe never has to move a muscle or
create an emotion for Arthur for the audience or the characters around Arthur to
latch on to. As a result we are alienated by the actor's nothingness while
"Woman" works feverishly in its sole role as a cathedral of scares to obscure
the reality that there's no real plot to hitch its wagon to. Mr. Radcliffe
is a staid, inanimate object for any scares and drummed-up Hitchcock atmosphere
to dance and frolic around. Yes, his Arthur has lost his wife and is
always a glum fellow but even so, little emotion is conveyed either in the story
or Mr. Radcliffe's acting, except for a couple of predictable flourishes.
"When we die, we go up there," Daily (Ciarán Hinds) notes sincerely. Daily
and his wife ("Albert
Nobbs" Oscar nominee Janet McTeer) have experienced loss of their
own. Mr. Hinds ("The
Eclipse",
"Tinker Tailor Soldier Spy") is this film's
lone gem, his subtle physical comedy and timing in many areas, including where
raising a glass to imbibe is concerned, is priceless, as are the many looks he
shoots Arthur and often no one in particular. These moments of comic
relief allow us to laugh with Daily but the loud, overdone bludgeon of frights
makes us laugh at the film more, which I did for most of its running time.
"The Woman In Black", which had the same-titled 1989 U.K. television movie as
its predecessor, is a deadening experience aside from two genuine scares early,
and never evolves beyond one-trick-pony status. The film builds atmosphere
fairly well in some respects but each of the notes of its would-be horror are
telegraphed faster than the telegrams Arthur wishes to send to London when
things in remote-ville get dicey.
The film, produced in part by the Hammer Horror films company, Britain's classic
horror outfit, needed more imagination and background than Ms. Goldman and Mr.
Watkins provide. Mr. Radcliffe, with all the bravado of a Hogwarts
graduate, intrepidly canvasses the vacant mansion shrouded in darkness while
silhouetted figures and apparitions keep him company. Nothing at all is
left to the imagination, and bedtime comes early for "The Woman In Black", which
grows very tiresome very quickly. Roald Dahl's "Tales Of The Unexpected"
this was not. (Herbert Wise, who directed the 1989 "Woman", also directed
at least one episode of "Tales", the
opening and closing credits of which are creepier
than anything in this film.) Watch a couple of episodes or
an excerpt of the British 1970s TV series
"Armchair Thriller" instead of Mr. Watkins'
hollow scare machine. You'd be better scared, and better off.
With: Sophie Stuckey, Misha Handley, Jessica Raine, Tim McMullen, Cathy Sara,
Liz White, Roger Allam, Alisa Khazanova, Ashley Foster.
"The Woman In Black" is rated PG-13 by the Motion Picture Association
Of America for thematic material and violence/disturbing images. The
film's running time is one hour and 35 minutes.
COPYRIGHT 2012. POPCORNREEL.COM. ALL RIGHTS RESERVED.
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