Movies
[Review] ‘The Turning’ Retells a Gothic Classic With Style, Little Substance and a Baffling Non-Conclusion
Henry James’ novella The Turn of The Screw has received numerous adaptations since its initial publication, The Innocents most widely regarded among them. His story about an inexperienced governess in over her head with two young wards, seemingly in the grip of a powerful haunting, makes for substantial material to frame new interpretations, thanks in large part to the enigmatic way he crafted the tale. Considering that the novella was published in 1898, though, and the role of a governess has evolved, it’s no surprise that the latest adaptation would bring the story into a more modern setting. But it’s the story that matters most, and The Turning seems to give up trying to tell one at all.
Set in 1994, Kate (Mackenzie Davis) gives up her current low-level teaching job when presented with a unique opportunity to serve as governess for an orphaned girl from a wealthy family. The previous governess left abruptly, hinted at in the opening. Being that Kate sees herself as a sort of orphan thanks to a dad that abandoned her and a mom (Joely Richardson) that’s currently in a psychiatric ward, she’s eager to make a difference in the life of her new ward, Flora (Brooklynn Prince). Everything is going swimmingly, save for the labyrinthine halls of the sprawling estate, and the creepy décor, until Flora’s older brother Miles (Finn Wolfhard) returns home from boarding school after a violent incident results in his expulsion. Miles’ behavior is off-putting from the first moment Kate meets him, but it grows increasingly bizarre as the estate’s dark secrets slowly reveal themselves.
For the most part, writers Carey W. Hayes and Chad Hayes (The Conjuring, The Conjuring 2) adhere closely to the novella’s blueprints. There are noticeable changes, aside from the ’90s setting, like the introduction of Kate’s mother. This is the workaround the writers interjected to create the feeling of ambiguity; are the children and the manor being haunted by its dark past, or is Kate inheriting her mother’s madness? The brief scene that introduces Kate’s mother tries to double down on the ambiguity by hinting that perhaps the mother is clairvoyant.
Floria Sigismondi, best known for her directorial work on music videos and The Runaways, marries ’90s grunge to Gothic horror with dazzling style. Sigismondi has a keen eye for framing shots, visuals, and detail that draws you in. It’s a gorgeous film. The Turning is also well-acted; Davis gives it her all, and Prince shows surprising depth and range in what could’ve been a standard creepy kid role.
The problem is the story. It’s effectively atmospheric, but the scares are generic and bland. Those already familiar with the source material might find this version a bit sleepy. There’s not much of an emotional connection, either, outside of Davis’ natural charm. Just as the narrative is kicking into high gear, building toward an exciting third act that looks to forge its own path, it stops. Dead in its tracks. It offers a baffling non-conclusion to a well-shot and well-acted film that’s going to draw ire from audiences. Sure, James’ novella also had an abrupt ending, but his story was so richly textured that it’s left readers with a lot of story to chew on over a century later. Readers still can’t agree on whether the governess had gone mad or if the children were under the sway of ghosts, even today. The Turning seems to frame its ending based on that indecisiveness, doubling down on the ambiguity James’ novella reveled in. Just without any necessary context.
For much of its runtime, The Turning exists in the realm of “fine.” It’s Gothic, moody, and strays enough off the beaten path to keep you mildly interested. Any goodwill it earns, though, is undone by inexplicable story choices that leave a sour taste in your mouth. Being that the film was initially slated for release in February 2019, and much of the trailer contains moments that aren’t in the movie at all, it’s hard not to wonder if the studios accidentally hacked too much out of the final cut. The result is all style and very little substance, with one of the most baffling endings in recent memory.
At least we have another adaptation to look forward to this year.
The 30th edition of the Fantasia International Film Festival commences this week in Montreal, running from July 16 through August 2. It’s set to unleash 125 features and 200+ shorts, from new premieres to festival favorites.
That includes screenings of upcoming theatrical releases Buddy, Colony, Her Private Hell, Hot Spot, and Teenage Sex and Death at Camp Miasma, as well as retrospective screenings of Pontypool and Gozu. But so much of the fun of Fantasia is the new film discoveries and surprises, and this year’s fest comes packed with potential.
Here are eight horror movies to keep an eye out for at this year’s fest.
Big Break
New York’s cult comedy darlings Simple Town are carving their way into horror with this comedic feature. In Big Break, Will (Will Niedmann), Caroline (Caro Yost), and Felipe (Felipe Di Poi Tamargo, Blood Barn) reunite with their estranged ex-collaborator Sam (Samuel Lanier) years after their sketch group disbanded, hoping to get in his good graces to appear in the sequel of his hit film. But dark secrets are exposed during their weekend getaway, forcing these washed-up comedians to learn what it really means to kill to get their big break. Art imitating life in a witty horror-comedy sounds like a blast.
Corpus
An invite to a secluded party with his longtime crush and rising film star instead unfurls a strange nightmare of sensual and supernatural proportions. Corrin Evans’ feature debut is set in the summer of 1998, capturing a stylish, transgressive web of seduction and terror. The film stars Jeff Wahlberg (“Euphoria”), Brodie Townsend (“Heartbreak High”), Michael Vlamis (“Pools”), Lily Cowles (Antebellum), Nuha Jes Izman (“Yellowjackets”) and Ching Valdes-Aran (The Equalizer).
Freaks Part II
Final Destination Bloodlines filmmakers Zach Lipovsky & Adam Stein return to their mutant roots with their follow-up to 2018’s Freaks. Picking up several years later, Mary (Amanda Crew, Freaks) and her daughter Chloe (Lorelei Olivia Mote, Riddle of Fire) are on the run from authorities, masking their superpowered abilities and identities. But revenge will complicate matters in a sequel that teases a severe escalation in bloodshed. The Conjuring‘s Lili Taylor also stars.
Junction Row
Canadian horror icon Katharine Isabelle stars as Juno, a recovering addict who leaves a fringe housing compound for a better life, leaving her beloved Ruby behind. When she learns Ruby has gone missing, she discovers Junction Row has been overrun with criminals and something far more horrifying. The creature feature marks the feature debut of director Ashlea Wessel, who co-writes Junction Row with Clown in a Cornfield author Adam Cesare and Matt Serafini.
The Last Temptation of Becky
Becky Hooper (Lulu Wilson) escalates her ultra-violent annihilation of Neo-Nazis with a new CIA mission that sends her to Poland to infiltrate a family of innkeepers who are running a tourist venture at The Wolf’s Lair, Hitler’s WWII bunker. To prevent the Fourth Reich, Becky takes matters into her own bloody hands. Jenn Wexler (The Sacrifice Game, The Ranger) directs this trilogy capper from a script she co-wrote with Matt Angel (The Wrath of Becky), from a story by Angel andSuzanne Coote (The Wrath of Becky). Neil Patrick Harris also stars.
Los Vampires
Lost actor Henry Ian Cusick and Spectre actor Thomas Kretschmann lead as uncanny surrogates for Carlos Villarías and Bela Lugosi in this fantastical fictionalized account of the making of George Melford’s classic horror film, one that was shot overnight on the same sets as Tod Browning’s Dracula. The period horror movie is written and directed by Craig Mitchell (Komodo). Daniela Couso (Serial Beauty), Jefferson Mays (Inherent Vice), Oscar Nuñez (“The Office”), and Jorge Diaz (Paranormal Activity: The Marked Ones) round out the cast. Watch the intriguing teaser here.
Rubberhead: The Life & Monsters of Steve Johnson
The wild life and incredible career of SFX wizard Steve Johnson (Fright Night, Poltergeist II, An American Werewolf in London, A Nightmare on Elm Street 4: The Dream Master) gets the documentary spotlight from director Nick Taylor. Those familiar with Johnson’s two-book saga Rubberhead: Sex, Drugs and Special FX, which serves as the basis for the documentary, will already know that the artist is a candid raconteur as open about his failures as his successes. Linnea Quigley, John Landis, Tom Holland, and Oscar-winner Bill Corso also contribute as talking heads in this illuminating doc.
Unholy Night
Grandma is back from the dead and ready to commit murder in this holiday horror comedy from writer/director Michael Gabriele. The chaos of an Italian Christmas Eve gets dialed up to a zany, violent degree in the first teaser. Marc Bendavid (“Dark Matter”), Shailene Garnett (“Shadowhunters”), Al Sapienza (“The Sopranos”), Ron Lea (“Orphan Black”), Toni Ellwand (“Hannibal”), Cristina Rosato (Mother!), Jacqueline Robbins (“A Series of Unfortunate Events”), and Joe Pingue (Antiviral) star.
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