'Nocturne': Film Review

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Sydney Sweeney and Madison Iseman star in director Zu Quirke's feature debut, premiering online as part of Amazon's 'Welcome to the Blumhouse' series.

, which is more of a thriller than a horror flick but still features lots of psychological terror and bodily harm., first-time writer-director Zu Quirke adds a few of her own twists to the evil music school genre, including a bitter sibling rivalry and a mysterious book of sheet music that may have been written by Satan himself.

Sweeney plays Juliet Lowe, a talented pianist who’s unfortunately not as talented as her twin sister, Vivian . The latter’s already received an early acceptance to Juilliard, has a hot and talented boyfriend and is set to perform Camille Saint-Saëns’ famousAll of this leaves Juliet, who’s disparagingly referred to as a “workhorse” and “sensitive accompanist” by her parents and teachers, vulnerable to a fair amount of jealousy.

By far the movie’s most chilling scenes are the purely dramatic ones where Juliet finds herself face-to-face with her music teachers, whether it’s the gentle and milquetoast Roger , whose career she tries to ruin, or the slick and demanding Henry , who explains to Juliet that “music is a bloodsport” as a means to inspire her.

Sweeney is effectively unsettling in such sequences, as if her character were in the midst of a monumental burnout, and you wish Quirke included more straightforward moments like these instead of ones where, say, Juliet marches across the campus cradling a bunch of bloody tampons., is also strong as the uber-talented but smug sister who gets the comeuppance she may very well deserve, and her on-screen chemistry with Sweeney compensates for some of the film's schlockier effects.

Tech credits tend to be on the ordinary side, with nothing all-that distinctive about the filmmaking, set-pieces or locations. Like most Blumhouse productions, this one sticks to a handful of décors and characters in order to keep the budget below $5 million. The choice to use Saint-Saëns instead of other famous composers feels a bit more inspired, perhaps just so we can hear the school’s pretentious staff trying to pronounce the name in impeccable French.

 

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