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Aidan Gillen, Eva Birthistle, Timothy Spall, Ella Connolly, Amelia Crowley ... see more see more... , Brian Boru Gleeson , Dan Gordon , Ruth McCabe

A veteran and a pharmacist learn there is no cheating death after losing their daughter in a tragic accident, then taking part in a Pagan ritual to bring her back to life. Their nine year old daughter... read more read more... Alice killed in a vicious canine attack, Patrick (Aidan Gillen) and Louise move to the sleepy village of Wakewood to start a new life. Once there, they encounter mysterious village leader Arthur (Timothy Spall), who claims he can resurrect Alice for three days so the grieving parents can say their proper goodbyes. If they agree, however, Patrick and Louise will be binded to Wakewood forever. Shortly thereafter, and the ritual is conducted. As Arthur promised, Alice returns to her parents as if she were never gone. But when three days pass and the time comes for Alice to go, Patrick and Louise discover just how frightening things can get when the rules are broken. ~ Jason Buchanan, Rovi

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1,162 ratings

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20 critics

R, 1 hr. 30 min.

Directed by: David Keating

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DVD Release Date: July 5, 2011

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Flixster Reviews (252)

  • itsjustme2004
    March 20, 2012
    itsjustme2004
    Weird movie...
  • lewiskendell
    August 3, 2011
    lewiskendell
    "What goes on in Wake Wood is not for everyone."

    This surprisingly gory little entry into the "evil kid" genre is a good one. In the Irish town of Wake Wood, the dead can return to life to see their loved ones...but only for three days, and only if a very specific set of rules h... read moreave been followed. A recently arrived couple is so desperate for the return of their nine year old daughter, that they ignore some of the rules to have her back. And while she seems entirely normal at first, as the three days draw to a close, things start going horribly bad.

    Wake Wood takes a while to get going, but when it kicks into gear in the last 40 minutes or so, it's pretty epic. Very gory, as I mentioned before, but it also lays on the creepy atmosphere and thankfully keeps the jump scares to a relative minimum. I also liked how the story was kept simple and uncomplicated, there aren't any needless plot twists to muddy the movie. Any fan of horror should give it a shot.
  • mumby1988
    June 18, 2011
    mumby1988
    The revival of the Hammer brand is a cause for triumph and tribulation amongst horror fans. Nostalgia notwithstanding, the rebirth of Hammer in and of itself indicates some kind of bright future for British horror filmmaking. But with this there is the risk that the new output ca... read morennot live up to the past, either in quality or in the precise, easy-to-identify trademarks which made the originals so endearing.

    Whatever the merits of Let Me In, the Hammer-backed remake of Let The Right One In, it lacked the essential visual and structural qualities which we associate with Hammer: the slightly creaky, strikingly-coloured blend of Hollywood studio convention and European grand guignol, delivered in a distinctively British way via several buckets of blood. But there is no such trepidation with Wake Wood, which is Hammer through and through.

    The stable name may be from another era, but Wake Wood feels like a product of the 21st century. This is not the output of a single studio, churning out films like a factory, but a series of smaller, more disparate production companies who can use the brand to get the distribution they deserve. The opening credits of Wake Wood list more than a dozen companies before we reach the title, a sign of how thinly spread the funding is and the price we have to pay nowadays for interesting low-budget films.

    In terms of its place in horror, Wake Wood prominently references a number of films and texts which are held in high regard. The central story about a couple grieving for their dead daughter is a clear nod to Don't Look Now, as is the mention of red in the girl's vision and the images of her wandering the woods in the (yellow) raincoat. An d there are huge hints of The Wicker Man in this couple's status as outsiders chancing upon a 'pagan' community. It's as though the film was written by someone who saw both films on a double bill, forgot that they were two separate entities and wrote their own version of what they perceived to be a single story.

    Outside of these prominent references, the film also tips its hat to W. W. Jacobs' The Monkey's Paw and Stephen King's Cujo in the more graphic scenes with the dog. But although it's situated deep in a particular area of horror, Wake Wood does gradually gain its own identity. As the various genre elements begin to play out, they afford the director a chance to experiment while having the security of knowing the outcome.

    That said, the first 45 minutes are very slow-burning and deeply generic. This is the section of the film which most reflects the modesty of the production. The visuals are washed-out with very standard camerawork and simple editing, and there isn't a great deal in the dialogue to pull you in. As with a lot of genre filmmaking, there is some pleasure to be had from seeing all the pieces fit together. But by the time we have reached the halfway mark, we begin to feel like something's missing.

    For a film situated so strongly in the more emotive, 'lost child' end of horror, Wake Wood has a surprising amount of gore. There are pockets of blood and guts throughout the running time, with some being designed to shock and others being used to contextualise the events - for instance, Patrick's work as a veterinarian which leads him to befriend and work for Arthur. The most memorable example involves one of Arthur's farm assistants being crushed to death by the back end of a bull as it is being moved into a metal pen.

    As well as testing the audience's mettle, the gory parts of Wake Wood convey one of the main ideas of the film. The cycle of birth, life and death (and re-birth) is presented as one with immense agony at both ends and a chance for happiness or peace in-between. Both the cow calves and the resurrected version of Alice emerge from highly painful births - the former requires a Caesarian section on the cow, the latter a corpse being mangled and crushed, like Burke and Hare without the jokes.

    After the initial agony of childbirth, whether personal or by proxy, the time shared by Alice and her parents is one of sheer joy. In contrast to the macabre and gruesome ceremony which brings Alice into the world, these scenes are shot in almost glaring sunlight with permanent smiles on the parents' faces. It's a moment of immense catharsis for Patrick and Louise, albeit one which slowly returns to grief and then fear as Alice's fate begins to unfold.

    At the centre of Wake Wood is the story of a couple struggling to come to terms with grief and being unable to let go of their daughter on a spiritual level. The film uses the language of horror - blood, guts, pagan rituals and strange goings-on in woods - to approach the issue of grief in a manner which feels a great deal more honest, brutal and genuine than any number of more mainstream, 'sensible' films. Compare this film to Rabbit Hole, in which all the grief feels choreographed and sanitised, and it's easy to see which approach is more effective at cutting to the emotional heart.

    This asset is confirmed in the performances of Aiden Gillen and Eva Birthistle, which are very naturalistic and feel genuine even in the most absurd moments of the film. Birthistle has something of Julie Christie's torment about her performance, refusing to constantly break down and having some kind of relationship with her child which stretches beyond the boundaries of this world. Gillen, on the other hand, has Donald Sutherland's stubbornness, having a desire to move on and occupy himself (with cows instead of churches) while also wanting to do what is best for his wife.

    The supporting performances, however, are more of a mixed bag. Timothy Spall brings much in the way of presence as Arthur, but his Irish accent comes and goes as he drifts back into his natural brogue. The elderly locals who oversee the ceremony are given small speaking parts, but these mostly end up like the women with the second sight in Don't Look Now: there's no awkward clutching of chests, but some of their comments border on the ridiculous. And the scenes of the pagan ritual are both creepy and a little bit snigger-inducing: fans of Hot Fuzz will almost expect the characters to start mumbling about "the greater good".

    The final third of the film, in which Alice's return to the grave goes horribly wrong, is where Wake Wood finally gets into its stride and starts to deliver the nail-biting thrills that we had been hankering for. The film takes the ending of Don't Look Now and marries it to the opening of Hallowe'en, so the symbol of the parent's grief is not only a murderous force but a seemingly unstoppable one. This section is spoiled somewhat by Alice dragging her mother down to the grave with her, a la Sleepy Hollow - there is nothing the mother had done which would have made her deserve such a fate. But this is partially mitigated by the final scene involving Patrick reviving his dead wife, who is pregnant with a second child...

    Wake Wood is a modest but solidly made film which is destined for minor cult status. Despite being so deeply embedded in generic conventions, it manages to take on its own identity through some decent performances and an overall feeling of unease generated by what unfolds. It isn't perfect, with all the shortcomings of a low budget being in plain sight. But as a self-contained, 90-minute horror film, it bodes well for the return of Hammer, and sets the bar in place for The Woman in Black.
  • kiriyamakazou
    April 3, 2011
    kiriyamakazou
    Interesting ideas are not enough to make this a truly fantastic horror. It's too concerned with being a horror, than exploring its themes. Bringing loved ones back from the dead is great, we see many people enjoying a peaceful 3days. Yet this girl has to go mental, just because t... read morehe film wants to scare. If it's a film about closure and moving on, then why does it jump about so much at the end? Seeing Spall play with an abacus after some fairly pointless questions just made the film seem so shallow in mythology. AT least set out some ground rules. The editing also betrays the budget. With nothing ever really shown, just a shot of a car, a dogs teeth, shocked reactions, dog on floor. Editing can disguise a budget, but the pale photography makes it more home-movie than horror movie. I'd heard great things, that equated this to a modern day Don't Look Now/Wicker-Man. All I really got was a fairly enjoyable movie with some good ideas, but a reluctance to avoid the obvious.
  • ryguy4738
    October 2, 2011
    ryguy4738
    7.5/10

    As you may already know - that is, if you know anything about me at all -, one of my absolute favorite films of all-time is Anthony Shaffer's brilliant occult masterpiece "The Wicker Man"; a thriller so rich with artistic detail that it might just t... read moreake two-three more viewings to actually "get" the movie. I've seen it plenty of times, and it's improved significantly the more I watch it. So, given that it's a favorite, I'm typically overjoyed when a film takes elements from that film and either pays homage to the material or gives it a new flavor. Edgar Wright was one of those people who "paid homage" to the great film in his hilarious multi-genre spoof "Hot Fuzz"; which, much like "The Wicker Man", only gets better as you see it more-and-more. However, few films have truly taken the most basic of ideas from the original film and succeeded in making something worth spreading the word about. The newest film to remind me ever-so-fondly of "The Wicker Man" is the Irish horror feature, "Wake Wood". It's the kind of movie where you don't know what to expect going in, but in the end, you get a pleasant surprise. And yes, even horror films can have those.

    I'll never understand why films as good as this one don't get the attention that they deserve. Perhaps, like the film it draws most of its influence from, "Wake Wood" will someday get a sort of cult following. A handful of the critics who saw it liked it; but the handful, unfortunately, is not really all that big. I agree with pretty much anyone who praised the film based on its atmosphere and attention to detail; it's probably better than AT LEAST 80% of the mainstream horror films releasing this year. So, with that being said, why not explore the genre and watch it? I can't say it's a fantastic horror film, but it's effectively creepy, and when it's brilliant, it's VERY brilliant. Most of this "brilliance" that I speak of comes in the form of little scenes in scenarios, but ask yourselves this; is that not enough to satisfy?

    A husband-and-wife - a vet and a pharmacist - loose their daughter to the gnashing teeth of a fierce canine. Grieving over her passing, they move to a secluded town known as Wakewood. They find solace with the local population of the area, who seem mysterious at first, but friendly nonetheless. They also find work; GOOD work. The townsfolk are very pleased indeed. The man who seemingly runs the town is Arthur (Timothy Spall), who hides a dark but fascinating secret from most newcomers. When revealed, the film just gets all-the-more intriguing, and since it appears that most plot synopsis's spoil it for you, I think I'll reveal the "big twist", since it's crucial to the rest of the movie.

    Arthur learns of the tragic demise of the couple's child, and informs them that, with their permission and the help of the local folk, he can bring back their daughter free-of-charge. After some thinking, they agree to go through with it; snatching a finger from their kid's now-rotting corpse, and attending whatever ritual that makes this action possible. To their surprise, it works; and their daughter is with them yet again. The couple is overjoyed; and Arthur is happy that they are well. However, there is a catch; the child can only remain alive for three days, which should give the couple enough time to say goodbye the proper way. However, they want to keep their sweet baby-girl forever, so the question is: what will they do - or, what will Arthur and the inhabitants of Wakewood do - when it's time for the child to return to her grave?

    By using deception and a very memorable and great scene of ritual performance, "Wake Wood" is indeed a clone of "The Wicker Man"; but it's a pretty good one. In that sense, maybe clone isn't the right word. It reimagines many of the ideas from the earlier film instead of merely copying them. I appreciated that, and who wouldn't? Horror fans will be very pleased by the skill and time that was put into this film; call it a quality product, if you will. It's an interesting, never-boring, consistently entertaining chiller that's as spooky as it is admirably well-made. The only problem I have with the film, as it is, would be the final act; which is still fun to watch unfold, but it's a little absurd. You'll see what I mean if and when you see the film, and believe me, even though it is ever-so-far from greatness, it's still worth a good watch. I recommend it, as much as I can, and from where I'm standing, leaving it at that might be a damn good idea.
  • Junnerayemalinao2012
    February 3, 2012
    Junnerayemalinao2012
    It has the dark atmosphere and some fine performances but through it all, I cannot truly deny the confusion in some scenes and the lack of scares.
  • fb208103125
    July 21, 2011
    fb208103125
    The atmosphere and feel of the movie was good, nothing incredible but it worked. The little girl while eerie was not truly terrifying as I had hoped for. As a horror film goes, this one is much better than the dozens of others that I dismiss and won't even bother to watch, so t... read morehat speaks volumes alone. All in all, when to compared to what I consider the greats, this is an average horror film with a more scary atmosphere than actually scary characters.
  • danieljparsons
    March 31, 2011
    danieljparsons
    Solid effort from the newly revitalised Hammer Studios, that was bizarrely delayed release for months and then finally trotted out to just a few cinemas before hastily dumped to DVD (whilst Hammer's Let Me In and Hilary Swank horror The Resident got wide releases). ... read moreNever mind, it's ripe for discovery now and well worth seeking out. A sort of cross between the likes of The Wicker Man and Don't Look Now (shades of the former's paganism/ritualistic small village setting and the latter's visual aesthetic), Wake Wood has a fascinating mythology - a place where the dead can be returned - but only for a few days. A new couple to the village, grieving for the loss of their daughter, inevitably discover about the secrets of the Wake Wood and of course take up on the opportunity to bring her back... and of course, things don't go as they had hoped.

    Perhaps a little similar also to Pet Semetary, there is much to recommend this film; a sparse, sensible running time, some brilliant acting from the leads (and a scene-stealing turn from Timothy Spall), and above all an engrossing and effective story. What's interesting, and telling, is that the sometimes quite brutal gore effects are probably the least remarkable aspect of the film. Deserves to garner a loyal following.
  • trisarahtops22
    May 14, 2012
    trisarahtops22
    Yes, it's creepy, but it has no real weight or depth to it. You never have a chance to become invested in the characters.
  • shitfaced8
    July 6, 2011
    shitfaced8
    Hammer studio's is back! Unfortunantly they picked this unimaginative snoozefest from Ireland as their first film since their reformation. Story involves a married couple who have lost their daughter to a vicious dog. Upon moving out to the small town of Wake Wood they are inform... read moreed that through a pagan ritual their daughter can be raised from the dead for three days. Despite their better judgement they go along with this plan. But upon returning their daughter isn't the same person she once was, now carrying a much more sinister demeanor. The film really just isn't very imaginative, features poor story telling and is unbearably dull. Thats not to say that it is a total failure. There is some good cinematography and the performances are pretty good for the most part. Still there isn't enough to praise here to make me say that it is worthwhile to watch this. Passable.

View All Wake Wood Reviews

Critic Reviews

Leslie Felperin
March 26, 2011
Leslie Felperin, Variety

The sometimes moldy legacy of Hammer Horror gets due tribute from Wake Wood, a preposterous but not entirely unprepossessing supernatural thriller partly backed by the newly resurrected scare shingle. Full Review

James Plath
February 11, 2012
James Plath, Movie Metropolis

Wake Wood at least shows that Hammer is ready to be a player again in the field of horror. Full Review

David Nusair
July 1, 2011
David Nusair, Reel Film Reviews

...just another tedious straight-to-video horror effort... Full Review

Philip French
March 28, 2011
Philip French, Guardian [UK]

The film cleverly brings together WW Jacobs's celebrated short story The Monkey's Paw with The Wicker Man, and it's both touching and scary. Full Review

Tim Robey
March 25, 2011
Tim Robey, Daily Telegraph

The film's reasonably effective, but never heightens its impact beyond what's on the page. Full Review

Charlotte O'Sullivan
March 25, 2011
Charlotte O'Sullivan, This is London

Low expectations are the key to enjoying Wake Wood. You have been warned. Full Review

David Edwards
March 25, 2011
David Edwards, Daily Mirror [UK]

Thoroughly unsettling from start to finish, Wake Wood will please horror fans with its muted palette, ominously creepy atmosphere and neat nods to the best of 70s British horror. Full Review

Anthony Quinn
March 25, 2011
Anthony Quinn, Independent

The enveloping creepiness of the village setting scores points, which the film proceeds to squander in careless plotting, imprecise effects and a denouement of arrant silliness. Full Review

Allan Hunter
March 25, 2011
Allan Hunter, Daily Express

A predictable but well-made chiller. Full Review

Scotty McKellar
March 24, 2011
Scotty McKellar, The Skinny

Right from the start there's a cheeky sense of Hammer coming into the 21st century. Full Review

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