James Crow is quite the prolific filmmaker. Since releasing his debut feature Curse Of The Witching Tree in 2015 he has penned, produced and directed four others while two more are currently in production.
While Curse Of The Witching Tree was an accomplished, in parts chilling story of folkloric horror, Black Creek (2017) suffered from stereotype-fuelled scripting and questionable production values, and A Suburban Fairytale (2017) never really seemed to get going at all. It’s interesting then that prior to this increased rate of production and subsequent struggles Crow produced the largely impressive House Of Salem (2016), a twisting tale based upon satanic worship that, although struggling with a script that never feels finished, delivers tense atmospherics while keeping the viewer firmly in the dark.
Young, troubled in a really-should-have-proper-medical-care-way boy Josh is kidnapped by a masked gang while his babysitter lies unconscious. Hidden away in a foreboding mansion – aren’t they all? – Josh’s would-be captors soon become his reluctant protectors as they all come under attack from a more sinisterly masked group bent on communication with The Devil himself.
Crow’s real strength is in his direction and camerawork. A skilled, knowledgeable combination of horror movie tropes and classical stylings give his film layers nodding to Hammer-esque influences, as the audience are led along a narrative that feels both familiar and surprising. Smartly used, but not overused, quick cuts add heart-quickening substance, and simple pauses drive the tension as the mystery deepens toward a satisfying conclusion.
Arterton is likeably unlikeable as the ‘reluctant’ kidnapper Nancy, who provides the film’s conscience, and Anderson plays the part of weak-minded ‘hero’ Jack with just enough conviction as to avoid becoming downright irritating. The cast of heavies do what they need to do, but it is probably Kelly that struggles most. Written to be both vulnerable and haunted, Josh comes across predominantly as creepy and the relationship between him and Nancy never feels entirely natural.
With House Of Salem Crow has relied on some of the basic principles of horror and produced a film that achieves what it sets out to do. Atmospheric rather than scary it again shows what he can do with the right tools and materials at his disposal. The question that remains is what could Crow achieve if challenged with producing less films and spending the extra time on further developing both the idea and the script? The dangers of more-is-less filmmaking that many low-budget auteurs succumb to in trying to produce the next breakout movie is understandably prevalent, but if at the greater danger of inhibiting talent, is it a risk worth taking?
HOUSE OF SALEM / CERT: 15 / DIRECTOR: JAMES CROW / SCREENPLAY: JAMES CROW / STARRING: JESSICA ARTERTON, JACK BRETT ANDERSON, LIAM KELLY, LESLIE MILLS / RELEASE DATE: OUT NOW
