The German legend of The Pied Piper of Hamelin is the basis of two recent horror productions. The first of these “twin films” to receive a wide release is Erlingur Thoroddsen’s take, which shares the same title as Anthony Waller’s adaptation. And although both reimaginings feature demonic updates of that famous ratcatcher, only Thoroddsen’s story appears to underscore the musical component.

The Piper finds Charlotte Hope’s (The Nun) character Mel trapped in a familiar situation: her aspirations come at a great cost, and the consequences will be harmful. Here the young composer wants a future in her orchestra ensemble as well as the means to take care of her deaf daughter (Aoibhe O’Flanagan). Stealing a concerto from the estate of her recently departed mentor (Louise Gold) seems like the only option, but once the protagonist goes through with the plan, Mel’s conductor (Julian Sands) then pressures her into completing the unfinished composition. Or else she is out of the orchestra. Considering the original composer’s claims of her work being evil, Mel has more pressing matters at hand than a looming deadline. Namely the monster she will conjure if she writes and shares that missing third movement.

The Piper closely follows in the footsteps of similar past films where the inevitable threat is brought on by a combination of dangerous ambition and a cursed object. The foreseeability of the story and the lack of engaging characters are each challenging to look past — the director previously said, “[The Piper is] my version of a mainstream horror movie” — but Thoroddsen’s visual direction is a bright spot in an otherwise conventionally plotted horror film. The Piper does not escape the unfortunate modern trend of nearly pitch-black nighttime or dark scenes, yet the lighting elsewhere is unearthly and atmospheric. The director is adept at establishing mood through illumination, fabrics and color.

There are these instances where The Piper is more in line with effects-heavy ‘90s supernatural offerings like Wishmaster, although this film’s villain has far less screen time. Delaying the namesake’s debut, on the other hand, avoids the usual desensitization that comes with audiences seeing the monster too much. And this Piper (played by Boyan Anev) is particularly terrifying. While it is hard to beat the charm and tangibleness of an actor inside a suit, the additional use of CG does enhance the Piper’s surreal appearance. After all, this creature is mythical and should not completely blend into reality.

Compelling music is required in a film like this, and Christopher Young satisfies the need with gusto. Young’s textured and dynamic score is not to be overlooked here; it might even end up being the highlight for many viewers. The composer, whose long and illustrious career includes plenty of horror, is skillful when it comes to intensifying scenes with music. The centerpiece of this film is naturally the dreaded concerto, and Young delivers the goods with zeal and technical proficiency. The artistic direction and haunting music ultimately boost this film’s overall profile.

The end product is often too straightforward and predictable for more demanding audiences these days, however, this tale of sealed evil is not entirely tuneless.

The Piper is in select theaters and on Digital starting on March 8, 2024.

Pictured: Charlotte Hope and Julian Sands in Erlingur Thoroddsen’s ‘The Piper’. Courtesy of Millennium Media.