‘The Lodgers’ (2017): A haunting, gothic horror tale (review)

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2017 gothic horror film “The Lodgers,” directed by Brian O’Malley, is a haunting tale set in 1920s rural Ireland.  Following orphaned twins, “The Lodgers” slowly unravels, revealing a horrid truth. Though “The Lodgers” occasionally stumbles, it’s creepy, highly-stylized, and well-acted, an effective and enjoyable combo.

In the Irish countryside, twins Rachel (Charlotte Vega) and Edward (Bill Milner) reside in the derelict family estate. Nightly, their crumbling mansion devolves into a nightmarish landscape. Edward and Rachel are bound by three rules: don’t let a stranger through the door, be in bed by midnight, and don’t try to escape. Should one of the twins attempt to leave, it’s a threat to the life of the other. However, war veteran Sean (Eugene Simon) returns to the nearby village and he’s instinctively attracted to Rachel. This plunges Sean into a twisted web of otherworldly elements, uncovering Rachel and Edward’s haunting family history.
“The Lodgers” calls back to 1970s horror films with its decidedly slow pace. That’s not to say “The Lodgers” is boring, as it’s a riveting romp. Rather, it shuffles along intentionally unwinding until a wicked reveal. It’s a film which harks back to 70s horror movies, Hammer’s “Frankenstein” series, as well as more recent gothic horror including “The Woman in Black” and “Crimson Peak.” With its methodical, drawn-out plot, “The Lodgers” is a bracing, enticing story.

Moreover, sets are pure eye candy. Even the crumbling estate is gorgeous in its collapsing state, it oozes its lost grandeur. Lighting is exquisite, chock full of grey tones which paint a bleak atmosphere. Largely, effects shine though there’s a bit of CGI which feels unrealistic.

Acting is top notch. Rachel portrays a clearly-troubled yet strong protagonist, fostering empathy early on. David Bradley offers a welcome appearance as the creepy family solicitor Mr. Bermingham. Though performances are muted, that’s simply to maintain the methodical pacing and trickling eeriness which permeates the entire picture.

Unfortunately, “The Lodgers” doesn’t separate itself enough from past genre entries. Though it’s engaging, magnificently shot, and well acted, it’s plagued by a plethora of tropes. While the main plot remains entertaining, a few subplots feel trite. Notably, Rachel’s love interest, Sean, returning from war and his trouble adjusting to life with the locals seems woefully underdeveloped. Similarly, his attraction to Rachel is a bit forced.

Still, “The Lodgers” is an effective, gothic horror tale. There’s an ominous, vibe that swirls, slowly at first, until a crescendoing reveal in the third act. Because the film focuses on an evil grounded, at least partially, in reality, it’s infinitely more frightening than monsters alone. As such, “The Lodgers” isn’t as straight up scary as it is effectively unsettling. Don’t expect jump scares or buckets of blood. A moody, brooding, gorgeously rendered movie, “The Lodgers” is wickedly enjoyable.