Fans of old Hammer horror films will certainly recognize and appreciate the decidedly retro feel of The Quiet Ones. Truthfully, it’s filled with horror movie tropes both new and old that doesn’t end up giving audiences anything unique. Yet, while flawed, at least it delivers the creeps with some effectiveness.
Set in 1974, the story follows introverted cameraman Brain (Sam Clafin). Looking for work, he takes a job from eccentric Oxford professor Coupland (Jared Harris) to film his latest experiment. The study involves a young and psychologically traumatized patient named Jane (Olivia Cooke) who appears to cause psychic phenomena whenever she’s in duress. As work progresses at an isolated estate, Brian begins to empathize with the patient after Coupland’s method are shown to be cruel. When strange events occur, arguments are raised. Is this just Jane’s malevolence manifesting itself in the form of telekinesis? Or is she really possessed?
From the outset, it is clear that those behind the camera know and love supernatural films from the 70’s. So, while there is an element of documentary footage to the proceedings, this isn’t a film that relies on the technique – the editing inter-cuts normal narrative shooting techniques with the camera footage being shot. If anything, greater care is taken to emulate classic horror films, from the production design and costuming, right down to the lengthy sideburns. The setting and approach preys upon the nostalgia of horror fans who remember flicks like The Legend of Hell House and The Haunting.
The sound design is particularly impressive. Slade’s “Cum On Feel the Noize” is pumped in the background and it’s a witty selection that couldn’t be more appropriate. Low volume creaks and hums echo over silence for long periods of time, followed by incredibly loud, ear-bleeding jolts. In fact, every five minutes or so there is an attempt at a rattling jump. Indeed, most are fake-outs and this method does get a bit tiring by the final act, but several of the early ones do startle.
Another big plus is the cast. Harris and the rest of the young stars are far better than one would see in many other films of this ilk. Hokey things are definitely occurring onscreen, but their performances are strong enough that audiences are likely to suspend disbelief longer than they should. Harris makes the most of his role as an arrogant professor, taking full relish whether he’s spewing gobbledygook on the importance of telekinesis research or drolly delivering lines of a more lewd nature, like, “Take your hands out of his trousers now, please.” And their work is crucial. While there is a twist at the end, the story itself doesn’t provide incredible revelations. Sure, new relationships come to light, but none of it feels particularly surprising. Without these performers, it would all be downright laughable.
The Quiet Ones doesn’t quite nail the ending and ultimately doesn’t deliver anything audiences haven’t seen before, but it features an above average cast, successfully establishes a mood and possesses a few effectively well timed (and scored) shocks. It’s a borderline call, but if these pros are enough for a night out at the movies, it serves its purpose as a fright flick.