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The Woman In Black: An Occasionally Scary Ghost Story
Arthur Kipps (Radcliffe) is still depressed over his wife’s passing four years ago and his work is suffering as a result. As a last chance, his boss gives him an assignment to take care of some business in a remote village; he’s to deal with a mountain of paperwork needed to put a manor on the market – one that’s owner recently died and which the locals don’t seem very eager to sell. Undeterred by the very hostile, unhelpful locals, Kipps begins to work at the house and there he starts to see the ghost of the eponymous woman in black. He slowly pieces the puzzle together, figuring out her identity and the relationship between her and the deaths, both past and present, of many of the children in the village.
The film’s selling point seems to be Daniel Radcliffe, who stars in his first role post Harry Potter, which is great except that he happens to be the weakest part of the film. He’s not bad per se, he’s just woefully miscast. He plays a depressed father to a four-year old whose mother died during childbirth. The thing is, Radcliffe doesn’t look old enough to be a father let alone to a four-year old, and the way he interacts with his onscreen child is more reminiscent of a sibling relationship, or one between a babysitter and their ward, rather than that of a father and child. Other than that, he does a good job portraying a man grappling with feelings of guilt and forced to be in a place that reminds him of his deepest fear at every turn.
What’s really different about this film, at least compared to newer horror productions, is that it allows for breathing space. The film doesn’t shy away from long, quiet shots that aim to set up the atmosphere. These scenes lull you into a false sense of complacency before boom! A shrieking head pops out, or a wind-up toy suddenly starts moving. Thankfully, the screaming humans, running around frantically, are kept to a minimum. The film is also filled with children who get up and quietly commit suicide. The opening scene – which is of three young girls playing – shows them as they get up, cross over to the window and in sync, silently throw themselves out of it. As beautiful as it is, it is also disturbing – it sets up the film’s quietly eerie tone very well.
For the most part though, this is a run of the mill ghost story where floorboards creak, doors slam at their own accord and shadowy figures pop out, scare the daylights out of everyone then disappear again. There’s nothing in it that we haven’t seen a billion times before and while it isn’t scary – not by a long shot – it will make you jumpy; the occasionally over the top score makes sure of that. The Woman in Black brings nothing new to the table but it makes better use of the generic ghost tricks than most films of this ilk.
First, it’s important to establish that we cannot place the blame in its entirety on Ramez Galal for his sadistic show. A big part of the blame should fall on us, the viewers, who eagerly wait for pranks and spike the show’s ratings, even reaching the point where café owners will blast these shows on large TVs to attract customers. It’s time to admit that there’s a sadist in all of us.
The premise of the show is a guest will come in to film an episode about the World Cup on a zodiac boat out at sea. The boat malfunctions, one of the presenters dives in to see what’s wrong, and the events quickly escalate to the boat sinking with the guest and a fake shark attack.
In the episode with Rania Mahmoud Yassin and Mohamed Riad, it’s interesting to point out that the boat didn’t sink entirely, and Rania kept a firm clutch on her sunglasses in a situation where any normal person would’ve let go of his/her belongings in exchange for safety. We ignored these points at first, but after several mentions on TV and by other viewers, we couldn’t help but wonder.
The show comes with a lot of legal issues this year, of which, a case that Athar El Hakim filed against Galal, banning her episode from airing, under the pretence that the prank extremely frightened her. The truth behind that is in question, after a video of her discussing her pay for the episode was leaked. Other legal issues concerning the show include damage to marine life from planting metal poles to support the hidden cameras.
Because nothing is black and white, it’s important to admit Galal’s sense of humour and experience, especially when it’s imitated by an artist like Mohamed Fouad in his show “Fo’sh Fil Mo’askar”, a stale and completely void of humour prank show.
We have to admit, we were impressed by the shark boat Galal uses to rescue the guests. He is a smart actor who was able to establish himself within Ramadan TV and create shows that people wait for year to year.
Adapted from John Green’s 2012 bestselling novel of the same name, The Fault in our Stars - a formulaic but engagingly honest story of star-crossed lovers brought together by a mutual pain - will sadden, enrich and perhaps even comfort, many of those who come across its path.
The story is centred on the sixteen year-old Hazel Grace Lancaster (Woodley); a girl who has been battling with terminal thyroid cancer since the age of thirteen. After being one of the few to respond to an experimental drug treatment, her condition is now stable, though the side effects have weakened her lungs and she is now constantly attached to a portable oxygen tank.
Hazel has pretty much accepted the fact that her days are numbered but her parents, Frannie (Dern) and Michael (Trammell), are increasingly concerned for her emotional well-being and urge her to join a cancer support group for young cancer patients like herself; not wanting to stress her parents any further, Hazel soon agrees to go.
It’s there that she first meets Augustus Waters (Elgort); an optimistic osteosarcoma survivor who lost part of his leg due to the illness. He is now living cancer-free and only comes to the meetings to support his best-bud, Isaac (Wolff). Instantly intrigued by each other, Hazel and Augustus strike up a flirty friendship but Hazel - someone who views herself as a grenade and is set on protecting those around her from the blast when that day eventually comes - is reluctant to let Augustus in. But as their relationship slowly begins to inch towards romance, she soon sees that she really doesn’t have much say in the matter.
Woodley is absolutely enigmatic as the story’s cancer-stricken heroine and ends up infusing a great amount of likeability and authenticity into the role of a young girl asked to face her destiny much too soon, while Elgort shines as the witty and the incredibly charming young man who refuses to let the cruelty of life dampen his spirits.
The Fault in Our Stars is only the second feature-film for director Josh Boone – see 2012’s Stuck in Love - however, he executes the tricky adaptation like a veteran. Scripted by Scott Neustadter and Michael H. Webert, the gravity of the material is handled wonderfully and there is a heavy dose of sincerity, humour and most important of all, heart, injected into the story’s sombre themes.
On the downside, its teenage-romance premise does get a little too cutesy in parts and the subplot, which involves a trip to Amsterdam, feels a little underdeveloped. Nevertheless, it’s the easy chemistry between its protagonists and its earnest approach makes The Fault in Our Stars a success and an ultimate real tear-jerker that won’t leave a dry eye in the house.