A lush, absorbing film

Rating: 8/10 (15 November 2017)

Gorgeous cinematography, rich historic Pennsylvania locations and a tight, intelligent script are what elevates this film above the ordinary horror flick. It has plenty of interesting ideas. Such as, how old buildings have a human history we may not realise, for example the boy Cole's school theatre where there was once a terrible fire, and the three colonial people he sees hanging from a rafter. Cole's kitchen is taken over at night by a battered woman who shrieks and opens all the drawers. It made me think about who used to live in my house. I like the scene where the young couple shop for antique rings - who knows who once owned them? The central affliction of the film - Cole sees dead people - has parallels with sexual abuse. Cole is frightened and disturbed and he can't tell anyone what's wrong because he thinks they won't believe him. He develops little routines, like his figurines and going into a church, to get comfort. The psychologist Malcolm (Bruce Willis) hits on the idea of Cole asking the ghosts what is wrong and offering to help them. It makes you think about angry or sad or disturbed people in the real world. Maybe if someone could get down to the root of their problem, they could get help. Cole discovers that the little girl ghost who keeps vomiting is trying to tell him she was poisoned by her mother, and that no one suspected it. I thought the film could have showed more of this - Cole helping the ghosts out. Malcolm's violent former patient, Vincent (Donnie Wahlberg) is a good reminder that sometimes people's pain is so great they can't be helped. Or maybe Vincent represents what Cole could be like in the future if he is not helped. The twist at the end is a great one. Willis is allowed to demonstrate his cerebral side, and Malcolm's scenes with his estranged wife are a poignant exploration of grief, and of a couple drifting apart.