Gloriously bonkers homage to the British genre films of the 60s and 70s, improved enormously by the sheer chutzpah of the reveal. Its stage origins are clear, and no doubt the practical effects worked better there than on screen, but ultimately it works like a feature-length episode of "Inside No. 9".
I admire what it was going for, I just think it fell short of its lofty ambitions. Didn’t really have any kind of an authorial voice, which made its artistic choices fall very flat. What could have been very meaningful connections and motifs just became cheap callbacks. The revelations of the back half also made the more straightforward first half feel totally meaningless too. Some pretty good scares though.
Ever since "Mulholland Drive" every so often comes a surreal and/or non-linear mystery that ends up being "in protagonists head all along". In most cases it's just a bunch of directors' exercises trying to find an excuse in the end, but for some films, like in this one, it leads an intriguing psychological drama and a potentially rewarding topic towards an unnecessarily trivial who-dunit, what-happened ending.
I have a confession to make: even as a fan of the genre, I've never really cared for horror anthology movies. And yet I keep watching them, I think because so many friends and critics I admire revere the likes of "Creepshow" and "Trilogy of Terror." This isn't the film to change my mind about the format, and in fact the ending is rather maddening, but at least two segments are able to coast on Martin Freeman's charm.
As a rule, I’m disinterested in films that spend the majority of the runtime lying to the viewer, but the bread crumbs are numerous here so at least it’s well done. The three tales just aren’t terribly interesting and are all variations of the same thing. I can see how this would be a far more captivating theatrical experience.
Excellent brit chiller filled with a depressing and oppressing atmosphere. The actors bring their A-game and creators Dyson and Nyman show that they have the genre acumen to really adhere and subvert the genre trope to great effect. While it may start out deceptively simple it takes many left turns leaving the viewer on the edge until the final horrific gut punch. Plus points for Ilfman's dramatic score! See it!!!
Pitched as an anthology horror in the tradition of Ealing's Dead of Night, Ghost Stories eventually expands into something more provocative. While the general nature of the initial cases & the over-reliance on jump-scares seem to promise only modest thrills, it's the third act & its daring dismantling of the fourth wall that opens the film up to a more psychological interpretation & moments of terrifying surrealism.