Writer and director Andrew Wiest’s The Forlorned is a micro-budget entry in the caretaker-moves-to-a-remote-haunted-building subgenre that arguably should have been put to rest 27 years ago, following the release of The Shining.
It’s clear that the filmmakers didn’t have a lot to work with, so the fact that they’re so frequently able to evoke the sense of otherworldly, visual splendor of the films of Dario Argento or tap into the madcap tension and energy of the Evil Dead franchise is utterly commendable.
Based on the novel of the same name by Angela Townsend, the dialogue is, at times, lacklustre and many scenes feel like they would have been more effective in print, but it’s a remarkably well-plotted piece of work when compared to its peers.
Whilst the acting is generally on the weaker end of the spectrum, we’re treated to a standout performance by Cory Dangerfield who chews the scenery as a grizzled, local bartender.
Colton Christensen, frequently veers into performing as a sort of bargain-bin Jack Black, but he’s an undeniably likeable screen-presence and that goes a long way. Christensen plays Tom, our caretaker protagonist who, having taken the job of maintaining an old light-house on a sparsely populated island, is plagued by bad dreams, spectral encounters and to, top it all off, a bedroom full of creepy, porcelain dolls.
Much like the ghosts encountered in the story, the film really comes to life during the night time scenes, where its cinematography lights up with bright, pastel colours and extravagant use of shadow and the holes in the effects-budget are glossed over by darkness. Throughout, The Forlorned is noteable for the surprisingly high quality of the artistry behind its low-budget production values. The art-design, for example, is minimal, but we’re given a huge deal of ambience thanks to props ranging from an imposing stuffed boar to a pair of dolls that look downright furious.
Sadly, for a film where the atmosphere is so reliant upon the bleak loneliness of the coast, we’re barely ever treated to scenes outdoors – and when we are, there’s often some awkward digital trickery at play, be it actors green-screened onto a clifftop or establishing shots seemingly digitally created in After Effects. What could have tapped into the creeping dread found in the work of M.R. James ultimately lands closer to R.L. Stine.
Much of the film works really well, but for every effective moment, there’s another that falls flat on its face. The average filmgoer might want to give this one a miss, but if you’re a forgiving viewer and a fan of horror, then The Forlorned might be worth a watch. If you can see past the cracks, there’s an awful lot to like here.
THE FORLORNED / CERT: 15 / DIRECTOR & SCREENPLAY: ANDREW WIEST / STARRING: COLTON CHRISTENSEN, ELIZABETH MOUTON, CORY DANGERFIELD / RELEASE DATE: UK RELEASE TBA
