random review: February/The Blackcoat’s Daughter (2015)


One must make sure to be in the mood for an Oz Perkins film. It will be a slow-burn, scantily-scored, economically-timed piece of celluloid with richly complex characters navigating mysterious and perilous territory. By the end, it’s going to haunt you whether you liked the movie or not.

february the blaccoat's daughter oz perkins emma roberts

I’ve seen Perkins’ catalogue in reverse order: first the minimalist Netflix Original I am the Pretty Thing That Lives in the House. He’s remained a pleasant curiosity since I was a dumb uni kid thinking his character was odd-dorably relatable in Legally Blonde, and when I knew that he played a younger version of his father’s character in the Psycho series. I’ve always had a strange curiosity for the offspring of incredibly famous actors from the last century – whether they resemble them in appearance or career choices, or public personae (after a handful of clicks, I stumbled across the Facebook profile of Vincent Price’s great-great-grandaughter).

February, then (or The Blackcoat’s Daughter) was a movie that was getting enough buzz online and at festivals, but only ended up with a VOD distribution over a year and a half after it premiered – despite being produced by powerhouse production company A24, keeper of some titles you, idk, may or may not have heard of (Room, Spring Breakers, Amy, Moonlight, The VVitch). Odd, given Perkins’ pedigree.

february the blaccoat's daughter oz perkins  lucy boynton

The story nicely befits Perkins’ trademark slow-burn: two girls waiting for their parents to collect them from boarding school find themselves in the presence of, well…something not quite right. Rose (a coquettish Neve Campbell lookalike from her Scream days, played by Lucy Boynton) has deliberately delayed her parents’ arrival so that she can tell her boyfriend she’s getting an abortion. The much younger, shy, meek Kat (a compelling Kiernan Shipka), is so wholesome she doesn’t even have a cellphone, and instead perfects her puritanical habits of inoffensive piano-playing and sculpting impossibly perfect twin french braids. She’d probably make a great architect. Emma Roberts, Lauren Holly and the always-welcome James Remar do some great work in a parallel storyline.

february the blaccoat's daughter oz perkins kiernan shipka

Without spoiling it, the plot progresses pretty quickly, despite many scenes in which very little appears to happen beyond slice-of-life character studies of these two girls. Some sequences are  needlessly repeated to plug the gaps in the film’s attempt at cyclical/interlocking storytelling, but on balance, it doesn’t detract. Unlike some other reviewers, I didn’t find myself scared but rather unnerved – or chilled. Perkins has a way of hiding unsettling elements in the foreground; it’s enough to linger after viewing and make you wonder if, in the slow-burn, safe ordinariness of your own life, that maybe something this otherworldly horrifying could happen to you, too.




31 Days of Hallowe’en, Day 29: I Am the Pretty Thing That Lives in The House (2016)


i am the pretty thing that lives in the house netflix 2016

What a pretty little bit of visual poetry. Like a visual novel. It’s honestly not what I would have expected, given that, from writer-director Oz Perkins, I’ve only seen a botched version of his script for mediocre slasher The Girl in the Photographs. But this – Netflix’s I Am The Pretty Thing That Lives in the House…is something different entirely.

i am the pretty thing that lives in the house netflix 2016

Lily (Ruth Wilson) is a live-in nurse caring for an elderly, retired horror novelist Iris (Paula Prentiss). Soon after she moves into the house, she begins to suspect that one of Iris’s most famous stories is based on a real murder that occurred in the house.

i am the pretty thing that lives in the house netflix 2016

It’s not a slasher. Neither is it a creature feature, psychological thriller or a possession melodrama. It’s a simple, impeccably shot and gracefully acted one-woman show from an always-compelling Wilson. Narrated by her (with a shaky American accent) as the titular pretty thing, the story is a bare-bones peek behind a series of increasingly creepy doors, book-covers and stairwells.

i am the pretty thing that lives in the house netflix 2016

It’s all very highbrow atmosphere, with a flurry of beautiful frames and crisp, clear audio melancholy, but there isn’t much else. I can see why some have been disappointed; this is Netflix’s first original horror production, and it’s a deliberately muted, skeletal sketch of a ghost story. Given its length and repetitively gothic minimalism, the pace drags; it would have been far more chilling as (even a longer) short film, but it’s a quietly elegant viewing experience if you know what style to expect.