A young lawyer travels to a remote village where he discovers the vengeful ghost of a scorned woman is terrorizing the locals.
The more it unfolds, the more the tension seems to drain away and despite a commendable performance from Radcliffe, The Woman In Black simply fails to deliver.
A heritage horror so classical it almost veers towards camp, this unashamedly old-fashioned ghost story benefits from Radcliffe’s committed performance and Watkins’ willingness to do anything for a scare.
Check behind the doors. Switch on all the lights. You won’t be sleeping soundly for a while.
Horror fans may find the picture too old-school but it was nightmarishly effective for me.
The story offers few surprises, but it’s big on atmosphere and a few scenes are properly unnerving.
Radcliffe is too young to be playing anyone's dad but he does anguished and half-terrified rather well, and the adaptation by Jane Goldman (Kick Ass) keeps the story tearing along.
As a stage play it has run and run. As a movie it plods and plods.
The film scores most of its points in atmosphere, the house itself a magnificently spooky echo chamber in which malevolent faces loom at the window and a rocking chair moves of its own accord.
Director James Watkins expertly uses shadows and empty spaces to create a percolating sense of dread, and he waits until the last possible moment before allowing his audience the catharsis of a shock. Don’t be reassured by the 12A certificate: there’s barely a glimpse of anything scary in this film, but that’s precisely what makes it so terrifying.
Some effective scares, but this is haunted house horror by numbers.
James Watkins's exuberant direction had me jumping in my seat and clutching pathetically at the armrest. Radcliffe endures each shuddering shock with a blank, stoic fortitude that suggests a teenager taking his driving test. He passes, but only just.
Shockingly unscary.
Like strapping yourself on to a ghost train, the film is a nerve-jangling procession of thrills, excitement and chills.
Goldman's script and James Watkins's direction are efficient, and the movie is handsomely designed.
Effective as it ultimately is, The Woman in Black still resembles a fairground ride more than a film.
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Photo Nick WallGeneral release. Check local listings for show times.
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