Director: James Crow
Writer: James Crow
Starring: Andrew Lee Potts, Jessica Arterton, Jack Brett Anderson, Liam Kelly, Leslie Mills, Dean Maskell, Anna Nightingale, Nalân Burgess
A group of kidnappers become a child’s unlikely protectors after discovering they have unwittingly been set up to take part in a satanic ritual. As they begin to uncover the truth of the house they find themselves trapped, they must battle demonic forces and uncover a legacy of over a hundred years of murder in the name of the Devil
Coming from experienced short film British writer/director James Crow, HOUSE OF SALEM represents his sophomore feature effort and continues with the rough theme of the occult which could be seen in his debut CURSE OF THE WITCHING TREE.
The film opens in familiar horror territory; a beautiful babysitter (Nalân Burgess) and a young child who clearly has either suffered some early trauma or has some mystery in his past. It is never just a normal kid perhaps with a tough paper round.
Early on we learn that the child, Josh, suffers from nightmares if he does not take his pill and rather unsurprisingly he deceives his babysitter into believing he has taken these bringers of peaceful sleep. Now this action also serves another purpose as we, the viewer, are thrown into uncertainty about whether what we are about to view is real or all in Josh’s head.
Whichever is the case it does not matter and we are not given the time to overthink for very quickly an armed gang, dressed in scary clown masks infiltrate the house and kidnap the boy leaving the babysitter unconscious on the floor.
After being taken to an isolated rural estate house, Josh starts to hear voices, but not only ones that want to protect him but ones that do not have his best interests at heart. At this point the film slowly develops more supernatural overtones and what was only hinted at before begins to dominate the proceedings as the waking nightmare becomes more vivid. These moments are more than competently handled aiding the unsettling possibilities of both the house and those behind orchestrating the kidnapping.
Objectively speaking however the opening act is a little slow for my tastes and suffers from inconsistency in terms of quality which reduces the impact and arguably the interest of what has the potential to be an engaging slow burning occult mystery.
Thankfully however by the second act the script begins to find its rhythm as more breadcrumbs are laid and engagement generated in regards to the real mystery behind the safehouse that the gang find themselves holed up in at the request of an unknown client.
Soon all around the property a mysterious symbol begins to appear with increased frequency as do the hallucinations of not only Josh but also those who took him. During this middle act HOUSE OF SALEM really hits its stride managing to create some genuine moments of tension and intrigue but unfortunately the film seems unable to capitalise on this resulting in a final act that was executed perhaps not as well as it could or should have been.
As with many low budget films the locations are limited and although not directly, HOUSE OF SALEM is comparable to that of a siege movie, Perhaps think in terms of the hospital in the terrific American film THE VOID, although much less expansive and a much lower budget.
One aspect of this almost siege like environment is that it places by emphasis on the acting, simply by default more than anything. This is both a strength and weakness of HOUSE OF SALEM as the few moments of action are unfortunately weak while the acting, which takes precedence is a little inconsistent although Jessica Arterton, Leslie Mills and Dean Maskell put in commendable performances while Liam Kelly in his first credited role as the boy Josh makes a strong start to his acting career.
Despite its promise HOUSE OF SALEM is unfortunately neither claustrophobic or brave enough in its depiction, I am talking both in terms of script and visuals, resulting in an inconsistent movie in which moments of inane and weak dialogue are followed by genuine tension. The pieces for success are all there and James Crow clearly knows his stuff leading me to suspect that these lulls and moments of inconsistency are down more to the transition from short to feature length production.
HOUSE OF SALEM is one of those small independent films that hovers around in distribution limbo for a couple of years after being made, before finally being granted a long overdue release. Thankfully though it manages to avoid being dated or missing a trend and so this delay has not or should not affect its release.
Overall there is still enough to recommend about this sometimes effectively tense movie to make it worth your while picking it up but if you are looking for an independent occult horror film might I recommend the Italian films CUSTODES BESTIAE by Lorenzo Bianchini or SHANDA’S RIVER by Marco Rosson ahead of this one.
HOUSE OF SALEM is receiving a home entertainment (DVD) and digital release courtesy of Left Films and Wild Eye Releasing coming October 1st 2018 if you are interested.