Admirable attempt at stylized macabre that doesn't go anywhere.

There is an atmospheric approach to the imposing, lonely city but the plot is that unfortunate combination of too subtle and hysterical.

Opening with some stunning panoramic shots of New York City, all crisp skylines and looming buildings, this film could have taken place in any era. Although there is no specified time in which these events are set, the style of décor and clothing seems to indicate anything from the 1930s to the 1960s. Filmed in monochrome, this provides a timeless and stylish David Lynch-ian study into madness.

In the middle of all this, little Lauren Ashley Carter as Darling is about to take on a job as Caretaker of a mansion. As soon as Madame says, "I really shouldn't tell you this, but…" the scene is set: the previous caretaker has met with an untimely demise … but Darling is assured she has nothing to worry about. No matter how artistically shot this is, and how wilfully playful some of it may be, an opening like that never fails to sound clunky.

And so, to the accompaniment of shrieking violins and jumping, jerky camera movements, we are invited to observe Darling very convincingly succumb to madness. And that takes up the bulk of the film – often without dialogue and very ably played by Carter, there is nevertheless a sense of 'is that it?' Even as she goes to great lengths to end the life of her new guest (played by Brian Morvant) and then nervously heaves his corpse into an empty bath, it becomes clear Darling's instability is all we're going to get in terms of story-telling.

Darling's alienation and severance from the rest of the bustling society is palpable, and Carter retains great presence as she continually slides further into her isolation (her eyes almost take on a performance of their own),the overall effect is one of intimate turmoil which appears to manifest from building itself.

To further distance itself from the trappings of normal filmed story-telling, this is split into six chapters – Her, Invocation, THRILLS, Demon, Inferno and The Caretaker.

This is the kind of love or hate flicks because it's a slow mover and not that much is happening but it do has the love or hate arty gravy.

Being shot in black and white this is already a reason for many to turn it off but for me that's a reason to keep watching because the red stuff looks more darker in black and white. But there isn't that many red stuff to catch so it's the story that must do it.

And the story is simple, a haunted house, a new caretaker, an new possession and an victim. Excellent performed by Lauren Ashley Carter who I have seen in a few horrors before. Is this a horror, well, it's not scary and it doesn't offer the creeps but it is still worth seeing. After watching another James Wan flick about ghosting and possessions I must say that this here attracted me more then the over-hyped Conjuring 2. Of course youth will not see this at any change and if they do they I guess would be more scared then the usual teenage horror.

The horror lays in the fact that a body has to disappear so a hammer and saw is used and that is the most gruesome part especially the tooth part.

Worth picking up if you are into horror just for that particular scene, and clocking in at 77 makes it easy to watch

Gore 1/5 Nudity 0,5/5 Effects 1/5 Story 3/5 Comedy 0/5