The Woman in Black

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The Woman in Black

59% Liked It
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The Woman in Black

Daniel Radcliffe, Ciarán Hinds, Janet McTeer, Shaun Dooley, David Burke

A young lawyer (Radcliffe) travels to a remote village where he discovers the vengeful ghost of a scorner woman is terrorizing the locals. -- (C) CBS Films

Id: 11141614

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The Woman in Black Recent Reviews
  • MizturY0da
    May 26, 2012
    MizturY0da
    three stars!!
  • blkbomb
    May 25, 2012
    blkbomb
    Jennet: I will never forgive. 

    "What did they see?"

    This is a pretty effective horror film. The Woman in Black is a nice little throwback to old school horror. It isn't fast paced and slickly made like a lot of modern horror films are nowadays. It floats along and banks on grea... read moret atmosphere and mood to keep the audience intrigued. This is a movie, much like The House of the Devil, that I can see boring the shit out of average fans of the genre. Huge chunks of time are chewed up by Daniel Radcliffe's character walking through a big dark house, moving from door to door, while a creepy score drones in the background. During this time the average viewer isn't given much to work with, but for the horror buffs that have seen countless haunted house films; there's a lot to appreciate. I loved the use of not only shadows, but of mirrors. The mirrors were never used for what you would think they would be used for. We have grown accustomed to seeing mirrors in horror films and expecting something to pop up on it. The Woman in Black uses that against us, and just shows us countless mirrors to play with what we would normally expect. 

    I won't argue that this has anything new going on, because it really doesn't. I also didn't find it as scary as it feels like it should be. I was more scared when we were just walking around, then of the actual Woman in Black. Her high pierced scream was a moment I wish they could take back. There were some cool moments though. I liked the first rocking chair scene, even though they didn't use it to its full potential. They were also some disturbing scenes with the children, but in the end the movie didn't feel like it knew where it wanted to go. If you need proof of that, just look at the ending. It's crystal clear that they didn't know exactly how to wrap this up. Nice try though.

    So in the end, did I like The Woman in Black? Umm... not particularly. It had moments and I really enjoyed the atmosphere, lighting, mirrors, production design, and the haunted house. Outside of that it had nothing. The director was really wrapped up in the house,  so the characters and story suffered. I would still give it a mild recommendation based all on atmosphere and the fact that a few scenes do merit a look. I did have some major problems with the movie, but it isn't terrible.
  • samoriley
    May 10, 2012
    samoriley
    I found it difficult to decare whether I enjoyed this film or not. To be honest, I liked it, but it didn't deliever the scares I had anticipated.

    I had heard that the film was supposedly very scary, however,it heavily relies on jump moments. Those who watch horror or films in ... read moregeneral, will easily predict when these moments occured. However, there were a couple of moments that made me feel disturbed.

    However, what this film succeeds in is creating the perfect atmosphere; dark,creepy and suspensful. Another success for this film is Daniel Radcliffe; I like how he has made a good start to his career after his success in Harry Potter.

    Because this film was cut for a 12A rating for the cinema, I strongly recommend to wait for it to be on DVD if it releases a uncut version.

    Positives:
    Superb Atmosphere
    Daniel Radcliffe returns post-HP

    Negatives:
    Relies on jump scares
    Beyond suitable for children
  • hobster1
    May 9, 2012
    hobster1
    The Woman in Black is a thoroughly unimaginative film. It's too bad because the production designers really did their homework. As a period piece, it has atmosphere to spare. The look of Victorian England is nicely captured and the costumes and music all have the look of quality.... read more But look closer. Discerning viewers will realize there's nothing here but your standard issue supernatural thriller with jump scares. The script is creaky and old like the dilapidated mansion he explores. The saga ultimately leads to a conclusion that basically renders the entire mission a worthless failure. The moral of the story? Next time the townspeople tell you to leave, you should leave!
  • mumby1988
    April 13, 2012
    mumby1988
    In a couple of recent articles for WhatCulture!, I talked about the revival of the Hammer brand and the resurgence of old-fashioned ghost stories. Both of these trends are typified by The Woman in Black, the latest from Eden Lake director James Watkins, and Hammer's first genuine... read more assault on the mainstream, if we discount their involvement with the UK distribution of Let Me In. Quite apart from its healthy gross and lengthy period in UK cinemas, the film is a very good, old-fashioned chiller which rivals The Others among recent efforts in the ghost story sub-genre.

    It doesn't take an expert in the horror genre to recognise that we are in well-worn territory. Susan Hill's novel is deeply embedded in the traditions of gothic horror pioneered by The Turn of the Screw and The Haunting of Hill House. Both the novel and the screenplay by Stardust's Jane Goldman draw on key genre tropes, such as the distant community full of suspicious locals, the dark house in the middle of nowhere, the disappearance of children, and the 'mad governess' motif (the idea that the action could be entirely the product of the lead character's imagination).

    If one were being cynical, one could say that the reputation of Hill's novel has been inflated by the success of the stage play, which continues to terrify audiences young and old across the world. The film has a key disadvantage over the play in the manner in which it must reveal the Woman in Black; the very nature of the medium means that there are only certain directions in which we can be looking for her. The film reveals the Woman in Black a little too soon, so that while she still scares you half to death, we have time to adjust to the fear, something we never get in the play.

    Like most ghost stories old and new, The Woman in Black is about the boundaries and interaction between the temporal and spiritual world. Its characters are arranged on a spectrum ranging from unconditional belief (Daily's wife) to grief-ridden uncertainty (Kipps) and aloof scepticism (Daily). There is a greater mystery element to this film than there is to The Others or The Haunting: while the protagonists in those films are tormented by virtue of being in a certain place, Kipps almost goes looking for trouble as he pours through the paperwork as Eel Marsh House

    The great success of The Woman in Black is its ability to draw on the conventions of the horror genre in a manner which doesn't come across as clichéd, hokey or desperately generic. The film is not self-conscious, invoking trope after trope in a knowing manner like the Scream series. But there is an acknowledgement on the part of Watkins that these motifs (call them what you will) have a staying power and validity. Not only does Watkins appreciate them, he crucially believes that they can still be scary, and in this film he really puts his money where his mouth is.

    For starters, the production design is very lavish. While much of Hammer's original charm lay in its creakiness and rough edges, The Woman in Black is a product of 21st century production techniques. The costumes are meticulously crafted to reflect period details, the weather conditions are convincing, the CGI is blended very well with the more organic effects, and the set design is ornate and elaborate. Nothing is left to presumption or expectation - when we arrive at Eel Marsh House, it doesn't look like a back lot left over from the early-1960s.

    Despite being a British production of a British novel, The Woman in Black's visuals have a distinctly Scandinavian feel to them. The wide shots of Eel Marsh house have an existential bleakness to them: the lonely figures riding along the causeway are overshadowed by this almost mythical house, which rears up out of the sea like the mental hospital from Shutter Island. Watkins really creates the sense of a house at the end of the world, where the temporal and the spiritual can interact and coexist.

    The Woman in Black, like many ghost stories, is about dealing with grief. Kipps takes on the Eel Marsh House case to take his mind off the death of his wife, and prove to his employer that he is mentally up to the job. Kipps and the Woman in Black are two sides of the same emotional response, namely the desire to care for one's child. While Kipps is essentially selfless, risking all he has for his young son, the Woman in Black's trauma has made her a force of pure malevolence - she attacks the children of others in revenge for what was done to her own son.

    The film has its fair share of scary moments which reinforce this theme. There are a lot of jump scares, involving doors slamming, loud noises and the recreation of a hanging, but they are at least executed in an inventive way. The best of these occurs when Kipps is in the nursery, and idly flicks through a zoetrope - only to see an eye peering through at him on the other side. This, along with the steady darkening of the main corridor and the infamous rocking chair, are very effective means of announcing the presence of the Woman in Black.

    Better still are the various scenes involving the death or disappearance of children, another common theme in ghost stories. The film opens with the unnerving image of three beautiful young girls, who suddenly get up from their tea party, walk over to the open window and jump to their deaths. When Kipps tries to save another girl from burning to death, he peers through the keyhole into the cellar, and finds the Woman in Black standing over her with the girl completely in her power. The recovery of the pony and trap, which owes a debt to Don't Look Now, finds Kipps emerging from the marshy depths cradling the dead son in his arms as if it were his own.

    The ending of The Woman in Black reinforces this theme, echoing The Orphanage in its marriage of tragedy and catharsis. As Kipps rushes onto the track to save his son, he sees a series of ghostly figures on the train - all the souls of the children whom The Woman in Black has claimed in her quest for vengeance. His act of sacrifice ultimately brings him want he wants - he is reunited with his wife at the cost of his own life. As they wander off hand in hand, they leave The Woman in Black to her fate: they have moved on from their grief and made peace with the world, while she is doomed to linger on.

    Much has been made about the performance of Daniel Radcliffe, in his first serious post-Potter role. It's an interesting departure point to choose, considering the debt owed to Hammer by the Harry Potter series. It takes about 5 minutes to adjust to his performance, and to get over his very conscious lowering of voice to appear older. But despite claims that he is too young for the part, he acquits himself perfectly well.

    Radcliffe is ably supported by Ciaran Hinds as the unsettled Daily, and there is a welcome cameo from David Burke, best known from playing Dr. Watson alongside Jeremy Brett in The Adventures of Sherlock Holmes. Liz White has the relatively thankless task of playing The Woman in Black, a role which if done properly requires on her being seen as little as possible. But even in the few moments where she becomes hysterical, she remains convincing and very frightening.

    The Woman in Black may be old-school and old-fashioned to the hilt, but it is still a very creepy and occasionally very scary effort which mostly does justice to Susan Hill's novel. Daniel Radcliffe give a very encouraging performance,, and Watkins' adept direction confirms him as a horror director to watch. It isn't perfect by any means, playing to convention to a fault and being a little too slow in places. But whether as an example of good genre filmmaking or the continuing value of ghost stories, it warms your heart while tingling your spine.
  • aquateen2
    April 8, 2012
    aquateen2
    [img]http://images.rottentomatoes.com/images/user/icons/icon14.gif[/img]

    To it's defining advantage The Woman in Black is nostlagicaly traditional, however others might want to call it almost entirely cliched. There are some decent jumps in it and I thought there was enough t... read moreo make up for the sacrifice of gore which most modern horror fans have become accustomed too. Also in haunted house movie tradition it's very chilling, superbly atmospheric and showcases fine cinematography and by itself proves that Daniel Radcliffe can charm and for that matter act outside the Potter franchise. It's nothing groundbreaking but it's fun while it lasts.
  • blacksheepboy
    March 20, 2012
    blacksheepboy
    The technical aspects are impeccable and Radcliffe puts in an efficient performance, but the unoriginal script is unfocused and full of clichés, with more cheap scares than genuine tension. Besides, the pseudo-optimistic conclusion is lame and anticlimactic.
  • superclerk25
    March 19, 2012
    superclerk25
    A very strong performance by Radcliffe and a story that does a great job at setting the dark mood. This is a British import and that has thrown some folks off as it has a different pace to what we are used to here in the States. It's refreshing though as it really relies on the c... read moreharacters and mood to do all the heavy lifting as opposed to the usual in your face scares and gore.
  • TheDudeLebowski65
    March 18, 2012
    TheDudeLebowski65
    The Woman in Black is a stunning return to old school horror. In my opinion, I think this is a refreshing tale in a genre plagued by endless remakes. The Woman in Black is a terrific horror film that relies on atmosphere to create its tension. Produced by legendary production com... read morepany Hammer, who produced a series of horror films in the 1950's, The Woman in Black is an old school style haunted house film that delivers genuine chills. The film boasts a great cast of talented actors Daniel Radcliffe and Ciarán Hinds deliver here and it's nice to see Radcliffe in a new type of role. Sure he will always be known as Harry Potter, but with his role as Arthur Kipps, he's broadening his range as an actor, and this is sure to be another memorable performance of his. Radcliffe definitely belongs in horror films, and he was simply incredible to see here. What I enjoyed the most about this film was its use of atmosphere to create the terror, and with such a dark, melancholic atmosphere, it only added a lot more to the tone of the story and it made this film a memorable supernatural ghost story. This film is a memorable horror film, and reminds die-hard horror fans that real horror still exists. If you want a solid ghost story, then this is your film. Brilliantly directed by Eden Lake director James Watkins, The Woman in Black is a near flawless scare fest from start to finish. This is a must see film for those wanting a memorable and genuinely scary horror film.
  • MrMarakai
    March 15, 2012
    MrMarakai
    Now that Harry Potter has waved his last wand, actor Daniel Radcliffe has to go and work for a living. Somehow, he has to convince that he can shake off the confines of his, boy wizard, signature role. On this evidence, he just might still earn enough to pay the rent.
    Arthur Kip... read moreps (Radcliffe) is a recently widowed, young solicitor that's sent to a Yorkshire village to clear up the affairs of a recently deceased woman who lived in a remote house. When he arrives he finds that the house holds a dark history and the frightened villagers won't dare go near it.
    I have said it time and time again... Good horrors are very hard to come by. When this was released, it seemed the horror genre was, wisely, going back to it's origins. Not least, in that it was produced by 'Hammer' studios. It takes the story back to the early 20th century, Victorian times, with the basic, tried and tested, haunted house and lurking evil spectre. It also seizes the opportunity to cram in all the obligatory conventions of a horror; the creaking empty rocking chair, the porcelain dolls, mechanical toys that operate on their own and ghostly faces appearing in upstairs windows. Things, do indeed, go bump in the night. The house is vast and spooky; the land is barren and desolate and the locals have a fear and trepidation of newcomers. Director James Watkins and cinematographer Tim Maurice-Jones undoubtedly assemble the perfect creepy atmosphere and the look of the film is sublime. Where it falters though, is in it's pace. A good ghost story should rightly take it time and build on it's premise, which this does, but it shouldn't be laboured to the point that you have lost interest before the spectre is properly revealed. This took forever to get going and when it finally did, it was all over. The second half of the film is rushed and the Arthur Kipps character's transition from solicitor to hands-on ghostbuster happens a little too quickly and easily. As far as Radcliffe is concerned, he still looks a little to young to convince in an adult role but with his five o'clock stubble and pallid complexion, he and us, soon settle into the role. He doesn't really have a lot to do though, other than wander around looking perturbed. Which he does competently.
    Yet another horror that fails to live up to the anticipation. The whole is not the sum of it's parts and it spends to much time trying to force a reaction, rather than earning one
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