Premiering in October 2017 at the London Film Festival, writing and directing duo Andy Nyman and Jeremy Dyson adapt their stage play of same name for the big screen.
Andy Nyman - Dr. Philip Goodman
Martin Freeman - Mike Priddle
Paul Whitehouse - Tony Matthews
Alex Lawther - Simon Rifkind
Years after 1970s paranormal psychologist Charles Cameron is presumed dead, Dr. Goodman visits the now sick and reclouse Cameron, who challenges paranormal skeptic to make sense of three unsolved cases.
We're told that 'incidents' commence at 3.45am (important).
Case 1: Tony Matthews
A nightwatchman working at a women's hospital is haunted by a young girl.
He's eventually led and trapped inside a room filled with mannequins, coming face to face with his tormentor.
In the aftermath, Goodman chats with a priest who says apparition was an 'unquiet' spirit.
Case 2: Simon Rifkind
On the way up to wee lad's bedroom, Goodman checks out an old framed photograph of youths hanging out near a tunnel.
Hmmm...
Driving home from a party, Simon knocks down a Satyr, which begins to terrorise him.
Fleeing from unholy beast, he's attacked by a tree.
Goodman concludes that in order to cope with his daughter's condition of Lock-in syndrome, Matthews became an alcoholic, whereas Rifkind was simply nearing psychosis.
Case 3: Mike Priddle
While his wife is in labour, wealthy countryman is troubled by a poltergeist playing silly buggers.
As story cuts back and forth, Goodman hallucinates a hooded person.
After spectral encounter with wife, Priddle tells Goodman that childbirth literally split Maria in two.
Conceding that life goes on, Priddle blows his head off.
The brain sees what it wants to see
Goodman returns to Cameron, angrily accusing idol of elaborate hoax.
Cameron removes latex mask and reveals himself to be Priddle.
Tearing away the confines of caravan, Priddle takes Goodman back to his childhood, as photo at Rifkind's house is played out.
Goodman is trapped by two bullies and the same hooded boy (a mentally handicapped kid nicknamed Kojak) shows up. Forced inside narrow tunnel, Kojak gets stuck and dies of an asthma attack.
The bullies flee, as does Goodman.
Priddle brands Goodman a coward for making no attempt to save him.
After witnessing Priddle feeding inhuman child 'Barty' cat food, a zombified Kojak condemns Goodman to hospital bed.
At some point in the present, Doctor Priddle and his assistant Rifkind check on patient's condition, and reveal that following a failed suicide attempt by asphyxiation (causing Lock-in syndrome), Goodman was admitted at 3.45am.
Hospital janitor Matthews makes a fleeting appearance and Goodman is left to suffer in his own personal hell.
Compelling
Superbly written and brilliantly acted, this is another excellent piece of British cinema.
Unlike the majority of big budget American horrors, tropes don't wear obvious clichés and while fairly sparse, jump scares chill to the bone.
The only thing I didn't like is Rifkind's experience.
It's almost like an Evil Dead parody, and even copies famous high speed POV.
Maybe effect was also created by bolting camera to a 2x4 piece of wood (shot at eighteen frames a second), with two people holding on to each end, running at Rifkind's car?
Ha ha ha!
Satyr asks Rifkind to 'stay', with guy exclaiming 'FUCK THAT!'
(Shakes head).
Although clues are littered throughout, twist is well disguised until the end.
My interpretation is that guilt is used as a metaphor, with imagination inspired by characters and surroundings.
This is backed up by final scene containing elements of Goodman's fantasy world.
Andy Nyman - Dr. Philip Goodman
Martin Freeman - Mike Priddle
Paul Whitehouse - Tony Matthews
Alex Lawther - Simon Rifkind
Years after 1970s paranormal psychologist Charles Cameron is presumed dead, Dr. Goodman visits the now sick and reclouse Cameron, who challenges paranormal skeptic to make sense of three unsolved cases.
We're told that 'incidents' commence at 3.45am (important).
Case 1: Tony Matthews
A nightwatchman working at a women's hospital is haunted by a young girl.
He's eventually led and trapped inside a room filled with mannequins, coming face to face with his tormentor.
In the aftermath, Goodman chats with a priest who says apparition was an 'unquiet' spirit.
Case 2: Simon Rifkind
On the way up to wee lad's bedroom, Goodman checks out an old framed photograph of youths hanging out near a tunnel.
Hmmm...
Driving home from a party, Simon knocks down a Satyr, which begins to terrorise him.
Fleeing from unholy beast, he's attacked by a tree.
Goodman concludes that in order to cope with his daughter's condition of Lock-in syndrome, Matthews became an alcoholic, whereas Rifkind was simply nearing psychosis.
Case 3: Mike Priddle
While his wife is in labour, wealthy countryman is troubled by a poltergeist playing silly buggers.
As story cuts back and forth, Goodman hallucinates a hooded person.
After spectral encounter with wife, Priddle tells Goodman that childbirth literally split Maria in two.
Conceding that life goes on, Priddle blows his head off.
The brain sees what it wants to see
Goodman returns to Cameron, angrily accusing idol of elaborate hoax.
Cameron removes latex mask and reveals himself to be Priddle.
Tearing away the confines of caravan, Priddle takes Goodman back to his childhood, as photo at Rifkind's house is played out.
Goodman is trapped by two bullies and the same hooded boy (a mentally handicapped kid nicknamed Kojak) shows up. Forced inside narrow tunnel, Kojak gets stuck and dies of an asthma attack.
The bullies flee, as does Goodman.
Priddle brands Goodman a coward for making no attempt to save him.
After witnessing Priddle feeding inhuman child 'Barty' cat food, a zombified Kojak condemns Goodman to hospital bed.
At some point in the present, Doctor Priddle and his assistant Rifkind check on patient's condition, and reveal that following a failed suicide attempt by asphyxiation (causing Lock-in syndrome), Goodman was admitted at 3.45am.
Hospital janitor Matthews makes a fleeting appearance and Goodman is left to suffer in his own personal hell.
Compelling
Superbly written and brilliantly acted, this is another excellent piece of British cinema.
Unlike the majority of big budget American horrors, tropes don't wear obvious clichés and while fairly sparse, jump scares chill to the bone.
The only thing I didn't like is Rifkind's experience.
It's almost like an Evil Dead parody, and even copies famous high speed POV.
Maybe effect was also created by bolting camera to a 2x4 piece of wood (shot at eighteen frames a second), with two people holding on to each end, running at Rifkind's car?
Ha ha ha!
Satyr asks Rifkind to 'stay', with guy exclaiming 'FUCK THAT!'
(Shakes head).
Although clues are littered throughout, twist is well disguised until the end.
My interpretation is that guilt is used as a metaphor, with imagination inspired by characters and surroundings.
This is backed up by final scene containing elements of Goodman's fantasy world.
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