After a series of strange events leads her to question her family’s isolated life on a fortified compound deep in the English wilds, 10-year-old Willow follows her parents on one of their secret late-night treks to the heart of the forest.
Willow knows her parents are keeping a secret from her. They and her grandfather speak in whispers then suddenly stop when she walks in the room. Then there are the bruises her mother is trying to hide. These just don’t happen from working a normal day on the farm. And then there’s the nights when she sees them load a pig in the truck, drive off into the woods and return with no pig but dad splashed with blood. Yeah, something’s not quite right here…
There are vital themes at the core of Alexander J. Farrell’s “The Beast Within,” yet getting to them proves a chore. Languidly paced and holding his narrative cards far too close to his breast, the filmmaker never develops a sense of urgency vital to horror films of this sort. Concentrating far more on mood than storytelling, the movie ends up being an exercise in stagnation.
Taking place in rural England, the relationship between Willow’s parents (Kit Harrington and Ashleigh Cummings) is obviously fraught with dysfunction. While she goes to great lengths to hide his lycanthropy and promises to keep it a secret, it takes its toll. And she continues to faithfully carry this arduous load, until it threatens her daughter. It is only when Willow (Caoilinn Springall) is in danger, that she acts to bring an end to this arduous situation.
What with the crimson cloak Willow wears early on, Farrell establishes the Little Red Riding Hood connection that’s at the heart of the film. Ostensibly a coming-of-age tale, once she sees her parents’ faults exposed, she’s forced to see them in a different light. The realization that your mother and father are flawed and accepting them as human is a key part of the maturation process. And while this is touched upon, it’s only done in a cursory manner.
Far too much time is devoted to establishing mood and, to Farrell’s credit, he creates a genuinely dark, fairy tale aesthetic. Yet, in doing so, far too many slow panning shots to take in the setting are used, while pensive, meaningful expressions on the characters’ faces are held too long. These and other similar techniques drain the movie of suspense, making for an inert piece of cinema that bores rather than thrills.
Giving credit where it is due, the third act is strong, Farrell finely getting to the crux of the matter with a shocking conclusion. The husband and wife’s toxic marriage, built on a foundation of codependency and enabling, implodes in a powerful, poignant manner that shows what the filmmaker can be capable of. The focus on the damage done to Willow and the question as to If she will continue this cycle with her future relationships hangs over the final image in a powerful way that much of “Beast” lacks.
1 1/2 Stars
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