Any horror movie that calls itself The Innocents is inviting comparisons. That’s the title, after all, of a true classic: Jack Clayton’s elegant 1961 haunted-house psychodrama, in which Deborah Kerr shuddered and quaked with a superstitious terror that may actually have been a coded expression of her own perverse desires.
The setting is a modern apartment complex, not a sprawling Gothic manor. Scandinavian moppet Ida has moved here with her family, including older sister Anna , whose regressive autism has taken her capacity for speech. No jumpy governess looks after the kids. Adult supervision barely seems to factor into their carefree afternoons. Vogt, in fact, rarely breaks from an adolescent perspective.
Vogt has told a supernatural coming-of-age story before. He co-wrote, with frequent collaborator Joachim Trier, the campus Carrie riff Thelma, about a sheltered college kid whose burgeoning paranormal abilities were really a manifestation of her pent-up desires and resentments. Here, the emotional spectrum is much narrower, because Vogt is following characters whose minds are still very much developing and whose relationships have a primal simplicity.
There are moments of finely orchestrated pinprick unease in The Innocents. On a whole, though, it’s straightforward to a fault, with all the intrigue of a cookie-cutter superhero origin story.
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