Months if not years have passed since I last fastened the curtains, turned off all the lights, and settled down to watch a horror film in the environment it’s intended for.
That opportunity came last Friday when I was given exclusive access to Mr Stitch’s latest full-length production, Unholy.
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Set in 1975 suburbia, newlyweds Peter and Margaret Eastwood lay down the groundworks to spend the rest of their lives together when they buy their first house.
But this is no fairy tale, no idyllic retelling of an undisturbed family life but a mounting tension between Margaret, Peter and the demons that haunt the property on 39 Ashcroft Road.
What starts with noisy echoes from water pipes slowly manifests into more threatening movements, chilling sounds and apparitions as the audience are forced out of their comfort zone. “There’s nothing to be afraid of, it’s just the pipes,” Peter tells his panicked wife.
Creaks, bumps in the night and an unsettling visit from a frail old lady turn into huge bulking shadows lingering in the corridor, apparitions of dead children and violent acts that culminate in a brilliant conclusion that pushes the film’s budget to its limit.
Unholy was filmed on a £600 budget and was never going to live up to the smooth big-budgeted Hollywood productions.
At the same time this constraint forces the team to be more creative, which combined with a great attention to detail, meant the film was an enthralling watch.
You don’t need big bursting budgets to send shivers down your spine, a bit of imagination and a lot of hard work can go a long way.
Some of the acting was stiff, as you would expect for a film with such a budget but there were surprisingly convincing performances from the female lead Kelly Goudie and Carn Truscott, who had a bit part role in the second part of the film.
The sound effects were on point. Deathly silence left the audience’s mind racing around trying to predict the next steps and an array of suitably eerie background music edged out the tension.
Lingering shadows were chilling to spot and attentive camera shots of footsteps over faces brought an intimacy that emphasised their vulnerability.
Director Anthony Winson had revealed to picking the film’s setting because the house had kept many of the features from the 1970s but there was a great level of extra detail from a dated copy of Woman’s Weekly, to a rotary dial telephone, a cassette player, an old car and retro clothing.
Unholy was a gripping watch with many chilling moments but above all else, it made me physically jump out of my skin, and any horror film that achieves that is worth its weight in gold.
A must watch for fans of haunted house films, independent films and those that love those palm-sweating, heart-pounding moments of dread.
7/10