Martyrs Lane ** 1/2 (out of 5) (NR) A sullen 10-year-old girl (Leah, played by Kiera Thompson) living in a rambling, creepy old house by the woods, in a family obviously strained by some previous trauma. What could possibly go wrong? Those who’ve seen scary movies with a supernatural premise know the range of possibilities is enormous, and most of them prove to be less than benevolent. Frankly, after decades of such films, often with graphic displays of carnage, I’m surprised that anyone would ever rent a cabin in the woods, or buy a big old house with a “history”. It’s probably Hollywood’s pervasive influence that inspired the various laws requiring disclosure of deaths and disasters in any realty transactions.
In this case, the house came as part of the compensation package for the father (Stephen Cree) as church pastor. Mom (Denise Gough) is a wreck, easily triggered to anger or tears; Leah is left largely to herself, interrupted periodically by taunting from her older sister (Hannah Rae). That leaves room for an imaginary friend (SiennaSayer), who might derive from something other than whimsy, and who may come with her own agenda. Guardian Angel? Devilkin? Delusion? Time will tell.
Leah’s little pal visits her mostly at night. They play some games, including clues to find objects that may explain (to Leah and the audience) why the family is so screwed up (Would grammarians prefer “upwardly screwed”?). The slow-moving mix of disclosure and growing danger sets a suspenseful tone. That eerie quality is enhanced by writer/director Ruth Platt’s decision to keep the camera closer than usual to her subjects for most of the footage. That creates a tension akin to The Blair Witch Project, but without the risk of motion sickness.
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The proceedings keep viewers more on edge than grossed out as the story unfolds with subtlety and understatement. That may make the product too slow and tame for thrill seekers, but fine for the palate of those who prefer queasiness nipping at their emotions. The two young girls turn in superb performances, with Thompson projecting childhood innocence despite her discomfort, while trying to understand the pain of all around her; and Sayer keeping the scales tantalizingly balanced between good and evil until The Reveal.
(Premieres on Shudder 9/9/21)