There isn't much of a twist to The Woman in Black's haunted house tale: man goes to a creepy old house runs into an angry ghost and mayhem ensues. That standard horror plot would be fine if the execution were thrilling every scare sending a chill down the spine. But star Daniel Radcliffe's first post-Potter outing has less life than its spectral inhabitants with impressive early 20th century production design sharp cinematography and solid performances barely keeping it breathing. Much like the film's titular spirit The Woman in Black hangs in limbo haunting the quality divide.
Arthur Kipps (Radcliffe) is barely holding on in life having lost his wife during the birth of their child and struggling to stay employed as a lawyer. To stay afloat Kipps reluctantly takes on the job of settling the legal affairs of a recently deceased widow. Living in her home the you-should-have-known-this-house-was-haunted-by-the-name Eel Marsh House Kipps quickly realizes there's more to the woman's life than he realized unraveling her mysterious connections to a string of child deaths and a ghostly presence in the home. Even with pressure from the townspeople Kipps continues his investigation hoping to right any wrongs he's accidentally caused by putting the violent Woman in Black to rest.
Radcliffe bounces back and forth between the dusty mansion made even more forbidding by the high tides that routinely cut it off from civilization and a town full of wide-eyed psychos who live in fear of the kid-killing Woman in Black. Even after losing his own son Kipps' neighbor Daily (Ciarán Hinds) is convinced the "ghost" is a fairy tales while Daily's wife (Oscar nominee Janet McTeer) finds herself occasionally possessed by her dead son scribbling forbidding message to Arthur about future murders. Arthur wrestles with the two extreme points of view but Woman in Black doesn't spend much time exploring the hardships of a skeptic quickly slipping back into standard horror mode at every opportunity. When they have time to play around with the twisted scenario all three actors are top-notch but rarely are they asked to do anything but gasp and react in a terrified manner.
Director James Watkins (Eden Lake) conjures up some legitimately spooky imagery leaving the space behind Arthur empty or cutting to an object in the room that could potentially come back to haunt our befuddled hero all in an effort to tickle our imaginations. But like so many "jump scare" horror flicks Woman in Black relies heavily on the "Bah-BAAAAAAH" music cues obtrusively orchestrated by composer Marco Beltrami. A rocking chair a swinging door and the reveal of a decomposing zombie ghost lady could work on their own especially in such a well-designed environment as Eel Marsh House but Woman in Black insists on zapping a charge of musical electricity straight into our brain forcing us to shiver in the least graceful way possible.
The script by Jane Goldman (Kick-Ass X-Men: First Class) tries to throw back to the slow burn character-first horror films of classic cinema while injecting the sensibilities modern filmmaking. The combination turns Woman in Black into visually appealing dramatically bland ghost story. Radcliffe still has a long career ahead of him as Woman in Black does suggest but this isn't the movie that get people thinking there's life after Potter.
The best way to go into Pirates of the Caribbean: On Stranger Tides is to think of it as the first film in a brand new franchise; a franchise in which mermaids love men zombies won’t eat you and a Fountain of Youth exists but all laws of logic reasoning and competent storytelling don’t. Although screenwriters Ted Elliot and Terry Rossio were smart enough to sever the narrative ties to the first two sequels in their franchise’s fourth outing the latest swashbuckling adventure in the series shares most of the same faults its predecessors faced.
Director Rob Marshall (Chicago) steps in for Gore Verbinski in On Stranger Tides but you’ll be hard-pressed to find his contributions to the already-flashy film that finds our hero Capt. Jack Sparrow (the inimitable Johnny Depp) on the hunt for the fore mentioned fountain. Of course he’s not the only one looking for eternal life: also in tow are nameless stereotypical Spaniards the English crown headed by a reformed Barbossa (Geoffrey Rush) and Blackbeard a ruthless pirate who looks and sounds a lot like Ian McShane. Their paths cross on numerous occasions as the story scrambles across the map culminating in a splashy battle in a magical meadow where Ponce de Leon’s greatest discovery lies.
Less a cohesive story and more a collection of individual set pieces linked together by nonsensical dialogue and supernatural occurrences the film isn’t all that hard to follow if you don’t strain yourself doing so. The sequence of events collide so conveniently for the characters you can’t help but call the screenplay anything but the result of complacency while the film itself sails so swiftly from point to point it’s actually a waste of time to dwell on plot holes and motives. Disrupting its momentum (which is one of the few things the film has going for it) is an unwatchable romance between Sam Claflin’s missionary Philip and Syrena (Astrid Bergès-Frisbey) one of a handful of murderous mermaids who do battle with Blackbeard’s crew. Their bland courtship will have you begging for Orlando Bloom and Keira Knightley to return to the high seas and that’s saying something.
The all-female fish people are one of a few additions to the Pirates world but their effect on the film is negligible outside of being the impetus for the coolest action sequence in the picture and perhaps the most unnerving of the series. The others include Penelope Cruz as Blackbeard’s busty daughter Angelica and Stephen Graham as shipmate Scrum. The former feels out of place among the cartoony happenings but provides much needed sass while the latter fills in for Kevin McNally’s Gibbs for much of the film and is a pleasure to watch for some hammy comedic moments.
As always however this is Depp’s show and he continues to put a smile on my face with his charisma and theatrical presence. Even though he’s operating on autopilot throughout you can’t help but marvel at his energy and enthusiastic output as he literally fuels the fun in the film. The same can be said of Rush who’s given a meatier and more significant arc this time around. He trades quips with Depp as if they were a golden-age comedy duo and they remain the most appealing attraction in the franchise. Though he brings an undeniable sense of danger to the picture I was sadly underwhelmed by McShane’s Blackbeard a character with such a domineering reputation and imposing look he should’ve been stealing scenes left and right. Instead I felt he phoned his performance in though that could’ve been the result of Marshall’s indirection.
No better than the genre-bending original but a slight improvement over Dead Man’s Chest and At Worlds End On Stranger Tides suffers centrally from lack of a commanding captain. Marshall’s role is relegated to merely on-set facilitator or perhaps liaison between legions of talented craftspeople that make the movie look so good. Whatever vision he had for this venture if he had a unique take at all is chewed up and spit out by the engines of the Jerry Bruckheimer blockbuster factory rendering the film as mechanical as the ride from which it is based.