I wasn't expecting much from this Australian made-for-TV enterprise, but I came away pleasantly surprised by this effectively low-key and stylishly tailored haunted house tale. Sure the horror elements abound (stain on the wall, nightmares and husband being possessed) kind of rings true to 'The Amityville Horror' yarn, however the spotlight here is on the yuppie characters and the dramatised emotional burden that comes from the stress of their high demand jobs, the knowledge of not being able to have a child and the investment (money and renovation) that's simply gone into their new home. It's a draining experience that could break them and test their commitments and actual goals for each other. A fear of something you just can't control and the need of total assurance in everyday life go a long way in shaping someone. Impeccably noteworthy lead performances by Rebecca Gibney and John Adam go on to sell the situation. While the local supporting cast lend well to proceedings.
Peter and Julie buy a rundown house in the rocks area (harbour view) of Sydney with the idea of building it from scratch again. Even though it means delving in deep, they still want this house. But not too long, something evil has awoken from the past and begins to stew up a rip between Peter and Julie. Peter is not quite the same man, and Julie believes it has something to do with the house.
Even though it's systematic and highly unoriginal, it's still very well-made, symbolically-penned by Tony Morphett and ably acted. The air-tight dialogues are well-served and direct with their ambitious themes. Intensity and suspense lingers from the fears and frustrations fuelling the character's once stable consolidation than that of the actual spirit. It's more the tool for their spiralling destruction and it's captured in an unsettling manner due the humane illustrations. Not to push aside the half-cooked horror staples (although there's different types of horrors in reality) and images, but the sinister atmosphere within just simmers and clouds the air. After the foreboding opening (a flash of our period killer brutally slashing a victim) with some junky filming techniques, it moves to modern times and stays with the couple. Glimpses of the spirit occasionally appear in mirrors and in the wall, but the creepier moments centre around Peter's obsessive transformation. Within certain sub-plot details there are incoherent factors (mainly about our dear spirit), but nothing that got me too bothered due to the angle they went with here.
The production has a slickly scope-like (more visually adapt compared to most bland TV work) look and Mark Wareham's swirling camera was always on the spot. The Sydney backdrop has a truly engaging scenic view, while the exterior of the house is detailed and well-used. Catherine Millar's stable direction lets the story tick along at a reasonable pace and Chris Neal's angelically stirring musical score is a haunting inclusion.
Those looking for thrills and special effects look elsewhere, as the focus are drawn up on the looming fate of the characters' harrowing plight. Not flawless, but a solid offering nonetheless.
Peter and Julie buy a rundown house in the rocks area (harbour view) of Sydney with the idea of building it from scratch again. Even though it means delving in deep, they still want this house. But not too long, something evil has awoken from the past and begins to stew up a rip between Peter and Julie. Peter is not quite the same man, and Julie believes it has something to do with the house.
Even though it's systematic and highly unoriginal, it's still very well-made, symbolically-penned by Tony Morphett and ably acted. The air-tight dialogues are well-served and direct with their ambitious themes. Intensity and suspense lingers from the fears and frustrations fuelling the character's once stable consolidation than that of the actual spirit. It's more the tool for their spiralling destruction and it's captured in an unsettling manner due the humane illustrations. Not to push aside the half-cooked horror staples (although there's different types of horrors in reality) and images, but the sinister atmosphere within just simmers and clouds the air. After the foreboding opening (a flash of our period killer brutally slashing a victim) with some junky filming techniques, it moves to modern times and stays with the couple. Glimpses of the spirit occasionally appear in mirrors and in the wall, but the creepier moments centre around Peter's obsessive transformation. Within certain sub-plot details there are incoherent factors (mainly about our dear spirit), but nothing that got me too bothered due to the angle they went with here.
The production has a slickly scope-like (more visually adapt compared to most bland TV work) look and Mark Wareham's swirling camera was always on the spot. The Sydney backdrop has a truly engaging scenic view, while the exterior of the house is detailed and well-used. Catherine Millar's stable direction lets the story tick along at a reasonable pace and Chris Neal's angelically stirring musical score is a haunting inclusion.
Those looking for thrills and special effects look elsewhere, as the focus are drawn up on the looming fate of the characters' harrowing plight. Not flawless, but a solid offering nonetheless.