Director: Floria Sigismondi
Writer: Carey Hayes
Cast: Mackenzie Davis, Finn Wolfhard, Brooklynn Prince, and Barbara Marten
Kate takes on a new job as a governess for two wealthy orphans. Her role includes room and board in their expansive estate. Not long after her arrival, strange supernatural occurrences propel the young woman to the edge of madness. Gripped by fear Kate must decide if she should protect the children or save herself.
Loosely based on the 1898 Novella, “Turn of the Screw”, The Turning is the first of two adaptations to be released this year. The second will be season two of Netflix’s Haunting of Hill House, entitled “The Haunting of Bly Manor”. The film is directed by Floria Sigismondi, a visual artist, and photographer, who is best known for her work in music videos. The Turning is the first feature film she has directed and it shows. Though beautifully shot the ending leaves much to be desired. The film begins as a taught suspenseful thriller, before unraveling into a confusing series of disconnected images, eventually disintegrating into an unintelligible mess. We had high hopes at the start, as the creepiness is almost immediate. Starting with the reveal of Kate’s mother in a mental institution and the use of melancholy grunge rock weaved through some of the early scenes, the first few moments are engaging, drawing viewers into the story.
Brooklyn Prince, is adorable as the precocious Flora, despite her bubbliness and sharp tongue it is easy to see she is haunted by some mysterious circumstance. Adding to the mystery is the bizarre Mrs. Grose, the estate caretaker, and housekeeper, who has an unnatural devotion to her young charges. Portrayed by Barbara Marten, the caretaker is grim with a ghostly grey appearance. From her hair to her wardrobe there is something off about her, and unfortunately, her secrets were left on the cutting room floor. Rounding out the mansion of misfits is Finn Wolfhard as Miles, the “man” of the house, Flora’s teenage brother. Naturally, Miles taunts the new governess and takes great pleasure in keeping her terrified. What good is a spooky mansion with 3 pale inhabitants if there’s no one to scare? Mackenzie Davis as Kate gives the story its damsel in distress or hero depending on how the ending is interpreted.
For reasons undisclosed the story takes place in the ’90s, clumsy exposition informs us that the start is the exact date of Kurt Cobain’s death. The superfluous pop reference was unnecessary as the wardrobe and technology made the time period obvious. Also, the time period had no bearing on the story at all, making the mention an even odder choice. This could have been overlooked if not for the disturbing ending which offered no answers or satisfactory conclusion, merely a collection of seemingly connected scenes with little to no context. The last 10 minutes of the film, appears to be an attempt at artistic expression but instead falls short of the mark. It is as if the creative team forgot they were telling a complete story and decided to end it all with a dream sequence, flashback and deleted scenes all rolled into one. As infuriating as the ending was, we are almost certain a sequel or prequel of sorts must be underway that will shed light on the disturbing final scenes. With the possibility of a sequel in mind, The Turning should be viewed as the longest trailer in movie history, offering glimpses of a fully-realized vision to be revealed later.
If you wish to check out The Turning, it hits theaters Friday, January 24, 2020.