The title of only two words instills all the ominous intent and sheer fear that one needs with the child-like writing of the main word for this independent British horror film directed and written by Tom Shankland (The Killing Game [2007]) brews mischievous actions as it takes the trusted formula of ‘killer children movies’ and twists them into fearful menaces, through a clever screenplay filled with tension and exploitive sequences from Paul Andrew Williams’ (The Cottage [2008]) story.
This movie will likely generate a momentary pause for some concerning whether having children or gathering with cousins for an isolated family adventure. Elaine (Eva Birthistle (Wake Wood [2009]) along with her husband and three children, are going to spend the New Year’s holiday with her sister Chloe’s (Rachel Shelly (Lighthouse [1999])) family at their woodland surrounded Tudor home to enjoy the festivities with her family too. It doesn’t long for the horror to start, with the arrival Elaine’s young son Paulie (William Howes) being sick, yet it’s dismissed as car/motion sickness; meanwhile Uncle Robbie (Jeremy Sheffield (Creep [2004])) makes an improper remark to 16-year-old Casey (Hannah Tointon (Minutes Past Midnight [2016])) who has the typical sighs of a disinterested teen. Little scruffs of anger first start with Paulie lashing out to his father Jonah (Stephen Campbell Moore) when he picks him up, and it’s obvious the father is going to be the primary adult the audience will dislike the most. As the film progresses the little bouts become more aggressive with the children aligning against Casey, she enjoys some sipping whiskey, from Uncle Robbie. By the next day it is obvious thanks to a few scenes what is happening to the children, though not due to many words rather actions speaking the volume. We learn more about Casey as she considers herself the abortion that got away, and she’s often made as a surrogate mother for the children while the actual parents are self-absorbed and bicker constantly. Elaine and Casey are close in age, a suggestion of teen pregnancy due to the lack of control of over her. This family drama is a tad much at times but serves as a backdrop to the raw horror coming at the mid-point of the film, with the first gruesome death occurring in display of the children.
Not all the children exhibit a level of sweetness, for example Nicky (Jake Hathaway) is older and clearly much more malevolent early on while his younger sister Leah (Rafiella Brooks ) has an adorable cuteness on display but equally deadly. Another manipulator is Miranda (Eva Sayer (The Turn of the Screw [2009])), Casey’s sister and the darling sparkle of her father, which becomes evident as the movie progresses. The chaos erupts, unleashing bloodshed, screams of agony and sorrow, clear signs that the heartache isn’t isolated to just one family but rather a new terror emerges, one that uses violence as expression.
The casting of the children was brilliantly done, as well the direction of their individual performances, with their eyes to illicit sympathy and that all important deviant appearance stoic killers. Also, understanding the delivery tone from both the director and the child actors in soft spoken ‘Mommy’ and ‘Daddy’ as to lure in and lower the defenses of the parents to screams for their attention. The visuals may be lost on some, but to see the blood soaking into the snow, makes for a stunning look, the clear absorption turns the innocent snow into a canvas of turmoil and anguish. However, some likely nitpick the shots of the barren wilderness and skyward bound images, but it conveys that something mysterious is traveling in the air, making one fearful of dangers of what isn’t seen, noting this movie was made well before any pandemic was on the horizon. Some might find themselves asking what is happening early into the film, especially those that dislike a slow burn, but Shankland, does lay quiet references about fugus and other unknown medical notes, including a dash moment about home schooling to stay safe. The is some subtle illicit reference from Robbie to Casey, though not direct, thankfully as well as the squawking from the parents with heightened emotional aggression. Oh, look for the scene of Robbie’s surgery of giving birth to Leah’s dolly, yes it’s low-budget but crafty.
There is a subtle underlying element in the film concerning the lack and misdirected parental responsibility. The parents are truly self-centered with their concerns and manipulating situations to see the subtle changes in their young ones that are working to eliminate their own existences. After all, no parent ever reasonably thinks their children want to murder them. A teenager might state the anger verbally, this storyline is more about pre-teens, those little cherub faces, and adorable smiles becoming murderers. In fact, it is at one point early on, Casey is made to be a surrogate mother and that her actions are deemed problematic for the unruly influence on the children, in addition Elaine, as a young mother, is accused of inappropriate parenting once more showing that others will look outward first before recognizing the psychological detriments in their own dynamics.
If one accepts the slow burn build-up, then the movie will pay off as they need to embrace what is not clearly acknowledged that the ‘plague or illness’ is worldwide with no cure insight as their children commit horrendous murders. For a low-budget film to have dedication to establish both setting of isolationism and character depth show the strength of all parties. When one thinks of their children they likely lay their life down for them, and hence the story of children killing is a common trope in the genre of horror mix with uneasy tension mounts convincedly in the film. While the movie isn’t pure horror, a few graphic scenes exist, borderline for some on a psychological impact and dramatic inner family turmoil cliches and sets a cliffhanger most will find it acceptable to include in their holiday choices for December.
TAGLINE: You brought them into this world. Now … They will take you out.
http://www.imdb.com/title/tt1172571/
IMDb Rating: 5.9/10
Baron’s Rating: 5.5/10