It doesn’t quite hit the mark, but it may be the most impressive horror film we’ve had for a while
The supernatural horror film Winchester has been heavily panned by critics worldwide, but I personally must say there is more to this film than meets the eye.
Set in San Jose, California in 1906, the infamous wealthy widow Sarah Winchester (played by the terrifying Helen Mirren) is ordered to be examined by a psychiatrist (impressively portrayed by Australia’s own Jason Clarke) to determine her mental capacity. Sarah believes her problem is one that is supernatural and horrific – she is haunted by the ghosts of all of the victims of the Winchester rifle, the gun that was developed by her deceased husband. In a desperate attempt to appease the ghosts and keep peace in her expansive mansion, she has continued to build various rooms and developments in her home at the request of many of the ghosts, turning her home into a gallery of endless horror.
The plot moves quite swiftly from the opening the film and wastes no time getting to the iconic Winchester House, where the production design, while obvious CGI is in place in various parts, is certainly to be commended. The visuals were consistently engaging, although unfortunately falling to the cheap trick of jump scares at many times, some of the film’s most chilling moments are not quite what viewers will expect and do leave a lasting impression.
If I were to really pinpoint what I really liked about this movie, it would have to be the unsettling ominous presence that floats around you throughout the film. With the film’s script respectfully touching on the contemporary issue of mental illness and suicide, its comparisons and associations with paranormal events is very well-written and executed with sharply directed actors in what is one of the best low budget horror films of the decade. To complement the film’s low budget, there is a distinct lack of blood and gore, illustrating the two directors’ ability to conceive an effective horror film that does deserve some luminous recognition, particularly in light of the poor quality of recent Winchester-esque horror films like Amityville: The Awakening and Leatherface.
But one of the essential elements of the film that has drawn significant criticism is one simple thing – the plot doesn’t really go anywhere. It seems to float about like a ghost for the first hour or so, before finally settling on a resolution that can semi-comfortably end the film and not leave the audience feeling completely unsatisfied. I think had the film been much longer and if the story had allowed the characters to really be fleshed out in depth and allow the dark cloud of the Winchester House mystery cloak the audience in suspense, that would have really been a powerful effect. But of course, horror films such as these (particularly with such tight budget restraints) tend to only have a very limited runtime in order to scatter out enough jump scares for the viewer to chew on.
Overall, however, this film is a brave shot at uncovering of the really strange stories from America’s 19th century, and exploring the dark side of mental health, the impact of superstition and paranormal beliefs on families and the search for light in a world consumed by thoughtless violence and pain. Winchester is a worthy adversary of the big budget Hollywood horror films, and I recommend you go see it.