Reviews
“Lot No. 249” Review – “A Ghost Story for Christmas” Returns with Fun Mummy Horror
Mark Gatiss’ revival of A Ghost Story for Christmas, a British strand of one-off specials infrequently aired around the holidays since 1971, continues with what is possibly its best entry yet: Lot No. 249. The League of Gentlemen alum has maintained a substantial interest in horror, much like comrades Steve Pemberton and Reece Shearsmith, but unlike the Inside No. 9 duo, Gatiss digs up neglected works from classic British literature — before now, namely M. R. James — and reintroduces them to contemporary audiences.
In Lot No. 249, Kit Harrington plays the prying university student who acts on suspicions about his odd neighbor (Freddie Fox). The Egyptologist in question is not only guilty of certain “perversions” he is also using a reanimated mummy — the story’s otherwise nameless namesake — to carry out his wicked plans. This includes murdering his various rivals on campus. The protagonist later intervenes, only to then make a startling, if not belated realization about his enemy.
Lot No. 249 isn’t as obscure as previous offerings from the Gatiss era of A Ghost Story for Christmas; devoted readers of Sir Arthur Conan Doyle’s oeuvre know it well. Fans of Tales from the Darkside: The Movie would also recognize this late 19th-century short story, seeing as it was the basis of that famous anthology’s first segment. Unlike that version, though, Gatiss’ take is fairly faithful to the original story.
Image: Kit Harrington, Freddie Fox and Colin Ryan respectively as Abercrombie Smith, Edward Bellingham and Monkhouse Lee in Lot No. 249.
To see a mummy on screen these days is a rare treat. After all, these imaginary reworkings of Ancient Egyptian mummies have been used less and less in horror films and television over the years. Compared to their fellow Universal icons, these undead creatures lack the versatility of vampires and werewolves. And to some, they seem silly by comparison and are best left in the past. Admittedly, Lot No. 249 doesn’t forego the most stereotypical depiction of mummies — the mummy here is very much a sinister monster hellbent on killing — but Doyle’s story has layers that give its swathed antagonist more value. And by extension, Gatiss taps into the story’s themes of imperialism and sexuality with insight, skill and, most importantly, a sense of humor.
Gatiss has confessed how difficult it is to get these beloved specials funded. Even knowing the financial limitations going on behind the scenes, Lot No. 249 does a splendid job of world-building, setting the mood, and fleshing out colorful characters in such a short amount of time (barely half an hour, in fact). The leads even start to feel like old and weird friends by the end of this macabre tale. Harrington imbues his character with an unforeseen volume of life and wit, whereas Fox is downright delicious as the mummy’s malicious master. While the superb performances are indeed a large reason as to why this Ghost Story works so well, the monster shouldn’t be overlooked. The mummy is menacing despite its Gothic handling. A desiccated and bandaged hand entering from off screen and reaching for someone’s throat is more effective than initially expected.
Gatiss took creative license with Lot No. 249, particularly in the conclusion (and an unnamed side character who is implied to be Sherlock Holmes). Doyle’s short story doesn’t quite deliver the narrative punch required for a visual adaptation. So this special favorably expands on the original outcome all the while satisfying Gatiss’ wish for dark fun. Before then, A Ghost Story for Christmas had a tendency to be serious. Maybe too much so. This break from routine, however, is a pleasant surprise and a great way to buck tradition.
Image: Freddie Fox as Edward Bellingham in Lot No. 249.
Tubi has been making strides with its original horror content lately, albeit small ones. For instance, director Ted Campbell’s first overtly horror offering, This Never Happened, shows how the popular streaming platform is progressing in the genre game while still having plenty of room to improve. These newer originals certainly look better than their predecessors; more effort in the visuals department makes a noticeable difference. Yet this tale of spectral vengeance can’t coast on its good looks alone. Beneath the attractive surface sits an uninspired story that won’t save this movie from ultimately becoming lost in Tubi’s growing catalog of made-in-house horrors.
Looking at both Campbell and co-writer Richard Pierce’s track record so far, the pair doesn’t have much experience in horror. Essentially all they did here was take the plot of one of their grounded thrillers and add a supernatural element. Two, in fact. On top of the ghost is the main character’s preternatural gift: Emily (played capably by María José De La Cruz) can talk to the dead. Not in a “look into my crystal ball” kind of way, but, nevertheless, she can communicate with spirits as well as see into the past. Whether or not she likes it. That interesting facet of the protagonist eventually comes to the surface as she attends her boyfriend’s (Javier Dulzaides) father’s funeral. It also becomes crucial to solving the mystery at the heart of This Never Happened.
While other similar movies might try to be vague — characters having random premonitions with no supernatural origin, for instance — This Never Happened is open about Emily’s abilities. The writers even spell it out for you not once but twice (and not counting a somewhat spoilery opening scene). First, Ana Laura Espinosa plays the kind shopkeeper who picks up on Emily’s clairvoyance as well as provides the sense of tolerance lacking in the young woman’s life. Then, Emily directly explains everything to her incredulous and rather insensitive boyfriend, Mateo. The same boyfriend who says things like, “Maybe you forgot to take your pills.”
Unfortunately, This Never Happened succumbs to stale plot developments and cardboard characters after a promising start. Following the funeral, Emily and Mateo invite friends to stay at his family’s lavish home for the night. A place obviously harboring a dark secret or two, by the way. The script never bothers to give Mateo’s friends the benefit of the doubt either, seeing as they act shady from the moment they first show up. In general, the movie’s mystery aspect is too straightforward and foreseeable for seasoned horror enthusiasts.
Particular design elements of the uncanny manifestation, such as her sharp-toothed snarl, make her come across as more cheesy than intimidating. The restrained interpretation of this angry spirit is preferred to the over-the-top model. Compensating for a goofy-looking ghost are kill sequences that tap into the ferocity of older Italian horror. However, that nasty modern habit of hurrying things along rather than prolonging and savoring the violence comes up here, as does the infuriating trend of poor scene lighting.
This movie fits in well with the likes of The Grudge. Namely those horror movies where a location is haunted by a vengeful and bloodthirsty spirit. Once you make that connection, the story plays out as you would expect. All in all, things definitely happened in This Never Happened, but apart from a decent step up in production values and a solid performance from the lead actor, very little of this movie is of note.
This Never Happened is now streaming on Tubi.
Pictured: This Never Happened poster courtesy of MarVista Entertainment.
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