hilitehead

Perhaps it was my own fault. Last week when I went to see Don’t be Afraid of the Dark (2011, directed by Troy Nixey), I was anticipating a Guillermo Del Toro horror movie, since the maestro of fabulist films often delivers quality. However, the movie fails to leave an impact but succeeds in narrative. Like Del Toro and countless other kids, I saw the original Don’t Be Afraid of the Dark (1973) on TV and lost some sleep to visions of goblins in the midnight shadows. This remake pays perfect tribute to its anscestor film, while reinventing the story with the dark fairy tale depth which del Toro is known for. The director, Troy Nixey, avoids pointless gore or boo scenes, using his cinematic tools wisely to build toward the inevitable critical mass. The creators of the film realize it is not the shock of things we see, but rather what is implied and left to imagination. Like the best horror films, simple elements blend to evoke emotions. Shadows swirl against a mansion as eerie as the Overlook Hotel, and the perfectly cast trio of Sally (Bailee Madison), Kim (Katie Holmes), and Alex (Guy Pearce) endure torments therein. Much has already been made of amazing young Bailee Madison and Pearce is solid as a man driven by career pressure, but Holmes – not a favorite of mine – is surprisingly agile in the role of the awkward girlfriend playing a believable protector. Marco Beltrami’s music sounds old school and builds up the Gothic art and sets well. The cinematography by Oliver Stapleton is dark and at times borders on dank and drab, but serves the story well.

The movie is a bit melodramatic at times and full of plot holes. Logic is thrown out the door before the opening credits even begin. The sets are gorgeous and the fluid use of cinematography is inviting and make you feel at home with the gawkily little creatures. The acting on the other hand is a bit hit or miss. Guy Pearce, arguably one of the most underrated actors in movies, is terrible as the father who doesn’t seem to care whether his girlfriend or his daughter lives or dies. His performance is bland to the point of sleepwalking through his role. The same goes for Katie Holmes, who at times is persuasive, but mostly wander around in a blank gaze. On the other hand, Madison makes for a convincingly scared child, although it is apparent at times that she truly is a child actor. But not all is bad, the movie does well to deliver a moody Gothic treat.

I would not want to ruin the succulent scares with spoilers for those who are eager to see the movie, but its suffice to say that the creators managed to expand the tale by linking the wicked imps of the movie to folklore and traditions (tooth fairies). Key scenes, such as a dinner, are clear homages to the original, and the finale delivers Grimm satisfaction. Despite sometimes weak graphic effects and too much exposure of the ‘creatures’, this movie honors its creepy roots with style. The movie is not akin to the levels of Pan’s Labyrinth, but its creative genius is spotted in its dark fairy tale that distills a distinctive mix of fact, fantasy, poetry, pain and pleasure. Nevertheless, if you like crafty horror flicks, this is for you and you will grow more reasons to fear the dark by the end.