Much as I like the "Paranormal Activity" pictures for their unfashionable minimalism and quaintly Victorian lack of gore, it's nice to get back to something like "The Woman in Black" -- not authentic Victoriana, exactly (Susan Hill's novel was published in 1983), and certainly not afraid of a little muck and blood, but fully invested in the spirit and spirits of that era. The film, a handsome nerve-jangler co-produced under the storied Hammer horror banner, amps up the scares without turning them into something completely stupid. Success!
Harry Potter finally behind him, Daniel Radcliffe has chosen a different sort of supernatural fantasy to launch his film career as an adult. In the 1920s, a London solicitor named Arthur Kipps is sent north to a grim, moist residence known as Eel Marsh House in order to settle the affairs of its recently deceased owner.
Years earlier the recluse, Alice Drablow, lost her little boy in a drowning accident in the nearby marsh. His cries for help can be heard, still. With the help of a kindly but not entirely forthcoming local landowner (Ciaran Hinds) and his grieving wife (Janet McTeer), Kipps learns the truth of the village of Crythin Gifford, having to do with a startling fatality rate for its young people and the title specter, whom Kipps spies in suitably eerie locations.
The work Radcliffe does here is primarily reactive. It's also quite good. I'd say he's on his way as a post-Potter entity, and "The Woman in Black" deserves a stateside audience. I only wish Watkins had done without the "WHUUNNNGGGG!!!!" sound effects whenever somebody or something suddenly appears in frame, further racking the nerves of our ectoplasmically beset hero.