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.