Review: Ghost Stories

Courtesy of IFC Midnight

There’s a specific kind of underlying dread in British horror movies that set them apart from their American counterparts. That doesn’t necessarily make them better or worse; however, it’s wickedly entertaining to immerse yourself in a story that takes the nation’s “stiff upper lip” mentality and uses it against the poor, frequently doomed characters involved.

It’s sort of the inverse of Eddie Murphy’s iconic routine explaining why you don’t see many black people in horror movies (short, less hilarious version: they’re not dumb enough to stick around a haunted house). There’s something demented about watching a clearly terrified Brit put on a brave face and press on when confronted with the supernatural – as if he’s just walked through a spider web instead of hitting a demon with his car in the middle of the woods.

That’s only one of the frightening things that happen in Ghost Stories, a smart, deeply unsettling horror anthology written and directed by Jeremy Dyson and Andy Nyman, based on their popular stage play. The plot is deceptively simple: Professor Phillip Goodman (Nyman, pulling triple-duty) has devoted his life to debunking all things paranormal, from phony psychics to supposed supernatural encounters.

However, his skepticism is put to the test when he receives a file containing three terrifying cases that seem to lack any logical explanation. The first focuses on a night watchman (Paul Whitehouse) who experiences disturbing visions while patrolling an abandoned mental hospital. Next is the aforementioned car accident, in which a teenager (Alex Lawther) runs over a monster and makes the boneheaded decision to flee the scene. Finally, Goodman interviews a wealthy banker (Martin Freeman, the film’s most recognizable name) grieving the loss of his wife and unborn child while also claiming he’s being haunted by both.

As if those encounters weren’t creepy enough, the professor begins to realize that certain details about each case relate to his own life in some way. Although they seem unconnected at first, Goodman can feel puzzle pieces clicking into place as he gets to the heart of each mystery. When the bigger picture is revealed, it’s more horrifying than he could’ve ever imagined.

While Ghost Stories might seem derivative at first glance, Dyson and Nyman put an inventive, compelling spin on tropes we’ve seen a million times. It’s a lot like a magic trick, really. When the brilliantly executed conclusion played out, I was so thrilled that it took me a second to realize the answers were right in front of me the whole time.

I love it when filmmakers earn a startling conclusion, rather than cutting corners for a cheap twist that ends up hurting the movie in the long run. Dyson and Nyman make their story worthy of repeat viewings because they put in the time to build the story right.

Part of that comes down to shrewd casting. I don’t remember seeing Nyman in anything before (despite his extensive IMDb page), but he’s terrific here as both an intelligent academic and an everyman that makes a perfect audience surrogate. Those two traits don’t seem like they should overlap, but Nyman makes it feel completely natural.

Lawther and Freeman are also strong, although they get the much showier parts – Freeman in particular. He’s part of the third act’s trippy dream logic and he takes full advantage of it. The first half of his performance is full of untapped grief, a man barely holding it together despite a lifetime of wealth and success. Perhaps that’s why it’s so disorienting to watch him do a 180 later. To go into more detail would criminally rob you of watching the mystery unfold.

Once again, Lawther plays yet a twitchy, possibly disturbed young man, which he can do in his sleep at this point following his turns in The Imitation Game, Black Mirror, Goodbye Christopher Robin and Netflix’s The End of the F***ing World. If I was his agent, I’d start getting worried about typecasting. Still, it’s tough to dispute how good the actor is in this kind of role.

If anyone gets the short end of the stick here, it’s Whitehouse. His story, although certainly creepy, is easily the weakest of the three. Granted, both the subplot and his character’s behavior make sense by the end of the film, but in the moment his night watchman seems like a complete idiot. He does his best to sell the material, but he’s working with one hand tied behind his back until the reveal. If I had to guess, his section might benefit the most from repeat viewings.

Horror fans will find plenty to enjoy with Ghost Stories, but I have a feeling those who scare easily might end up appreciating the film as well. Because it’s more complex than it initially appears, the mystery at the narrative’s center could attract far more than the genre’s core followers.

I could easily see this one develop a cult following, so get in on the ground floor and check it out on the big screen this weekend. Yes, Atlanta’s a bit of a drive, but I think it’s worth it in this case.

Ghost Stories is not rated, but contains strong language and thematic elements. Now playing at Landmark Midtown Art in Atlanta and available On Demand with select platforms.

Grade: B+