Locale can help horror a great deal – giving it a sense of scale, an atmosphere, a vibe. The Monster Beneath Us benefits greatly from its location, an austere Victorian mansion in the middle of a woodland. The crevices and crannies of this Goliath creak and groan, hinting at a damning history, whilst the fog-drenched woods enhance a building dread. And within its walls awaits a figure of English folklore, a malevolent spirit in the form of a boggart.
Sophie Osbourne’s directorial debut, which screened as part of the FIRST BLOOD section of this year's FrightFest, comes with a promising set-up as a recently widowed woman and her son take residence in the occupied house of her now deceased husband, only to find the aforementioned spirit in residence in it. The film strives to combine a traditional costume drama with a more modern, elevated sensibility, and is at its best when these two elements mix into an engaging concoction.
Osbourne has an eye for atmosphere and her camera moves effectively through the space it inhabits. There is real beauty here, with the windswept Yorkshire woodland an effective locale. This coupled with a strong turn from Becca Hirani as the widow at the film’s centre and there’s enough here to draw an audience. Hirani is a compelling screen presence, delivering a rich, nuanced turn. And yet what’s missing from The Monster Beneath Us is a pace or momentum. Deathly slow, Osbourne leaves too much room for the narrative to flounder. The script struggles to break free of familiar tropes even if it does burst into life when dealing with the complexities of the couple’s past.
The Monster Beneath Us is an effective calling card for Osbourne, even if the whole doesn’t quite match the sum of its parts. Hirani gives a great turn with effective support from Nicola Wright, Jennifer Lim and Marhsall Hawkes. While it never quite reaches the heights of its peers I am left curious as to where this director will go next.
3 Screams out of 5
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