THE MESSENGERS is one of those ten-a-penny, kid friendly horror films we're seeing more and more of these days as the genre becomes more and more successful at the box office. This one is produced by Sam Raimi and Rob Tapert, under their Ghost House pictures banner, and also has Lou Arkoff acting as producer, so at least it has some heavyweight clout behind the scenes. Not that you'd really know it, though, as this is very much a predictable Hollywood horror film, utilising staples we've seen time and again in this genre.
I admit I wasn't too impressed once we got into the story of a family moving into a rural farmhouse that turns out to be haunted by some CGI spirits. Yadda yadda yadda, seen it all before, etc. etc. One thing kept me watching: the direction. It's a cut above the norm for this genre, and that's because Thai directing brothers Danny and Oxide Pang (they of THE EYE) have been imported in to give the film some extra style. It's a bold step and one that pays off dividends. This is a stylish, visually sumptuous film, with the Pang brothers reaffirming themselves as a couple of guys who know exactly what they're doing behind the camera. This alone makes THE MESSENGERS stand out from similar competition.
That's lucky, because the story ploughs very familiar territory. There are killer birds straight out of the Hitchcock classic, and creepy, ceiling-mounted ghosts not too dissimilar from stuff in THE EXORCIST 3 and THE GRUDGE. As this is PG-13 rated horror, there's little in the way of bloodshed or gruesomeness, but lots of jumpy scare sequences, some effective, some not. Although his presence is a cliché in itself, the use of a little toddler who can see the ghosts is one I liked a lot. The cast is nothing to write home about. Lead Kristen Stewart is a big thing nowadays thanks to appearing in TWILIGHT, and she does acquit herself well as a tough, sympathetic heroine type. Dylan McDermott isn't bad as the father, but his role is a lesser one and he seemingly disappears for long stretches. Worse of all is Penelope Ann Miller, who's just as unsympathetic as she's ever been in a film. I'm definitely not a fan of this actress.
The last reel twist is predictable in the extreme, and there are some unintentional laughs when somebody gets impaled on a pitchfork and seemingly suffers no ill effect from the severe wounding. At other times, genuine moments of atmosphere are built up, and there's nothing I disliked too strongly: THE MESSENGERS is what it is, and you're welcome to take it or leave it.
I admit I wasn't too impressed once we got into the story of a family moving into a rural farmhouse that turns out to be haunted by some CGI spirits. Yadda yadda yadda, seen it all before, etc. etc. One thing kept me watching: the direction. It's a cut above the norm for this genre, and that's because Thai directing brothers Danny and Oxide Pang (they of THE EYE) have been imported in to give the film some extra style. It's a bold step and one that pays off dividends. This is a stylish, visually sumptuous film, with the Pang brothers reaffirming themselves as a couple of guys who know exactly what they're doing behind the camera. This alone makes THE MESSENGERS stand out from similar competition.
That's lucky, because the story ploughs very familiar territory. There are killer birds straight out of the Hitchcock classic, and creepy, ceiling-mounted ghosts not too dissimilar from stuff in THE EXORCIST 3 and THE GRUDGE. As this is PG-13 rated horror, there's little in the way of bloodshed or gruesomeness, but lots of jumpy scare sequences, some effective, some not. Although his presence is a cliché in itself, the use of a little toddler who can see the ghosts is one I liked a lot. The cast is nothing to write home about. Lead Kristen Stewart is a big thing nowadays thanks to appearing in TWILIGHT, and she does acquit herself well as a tough, sympathetic heroine type. Dylan McDermott isn't bad as the father, but his role is a lesser one and he seemingly disappears for long stretches. Worse of all is Penelope Ann Miller, who's just as unsympathetic as she's ever been in a film. I'm definitely not a fan of this actress.
The last reel twist is predictable in the extreme, and there are some unintentional laughs when somebody gets impaled on a pitchfork and seemingly suffers no ill effect from the severe wounding. At other times, genuine moments of atmosphere are built up, and there's nothing I disliked too strongly: THE MESSENGERS is what it is, and you're welcome to take it or leave it.