Director Osgood Perkins is almost too good at making us squirm.
The mind behind “Longlegs” and “The Monkey” has established himself as horror’s next wunderkind after some early career stumbles.
Now, with “Keeper,” Perkins is taking a swing at the cabin in the woods trope. A story that begins with promise and builds to a nightmarish conflict simply doesn’t know where to go when it matters most.
Tatiana Maslany plays Liz, an artist in a committed relationship with Malcolm (Rossif Sutherland, son of Donald). The couple drives to an expansive cabin retreat for some serious snuggling.
They seem happy on the surface, but there’s a discontent between them that’s hard to nail down. Screenwriter Nick Lepard keeps some details fuzzy, while the stars build on that sense of unease.
They’re in love but hardly comfortable in each other’s presence. They act like a couple on their third date, still unsure how far to press their mutual infatuation.
It’s fascinating.
Malcolm seems kind and says all the right things, but the film bombards us with images of beautiful women in various states of despair. What does that mean? And why is Malcolm so fixated on a chocolate cake left behind by the cabin’s caretaker?
Hmmm.
We’ll say no more, but “Keeper” takes that intriguing setup and lets Perkins’ visual imagination do the rest. Dream-like monsters invade the screen. Liz becomes uncertain of Malcolm’s commitment to their bond.
Liz sees disturbing images one moment, and then they disappear after a firm eye blink.
What does it all mean?
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“Keeper” lays out the mystery in a coherent fashion, something that can’t always be said of modern horror films. The pacing is taut, and Maslany’s performance keeps us engaged. She’s believable as a smart, resourceful woman who has been burned by love before.
Tread carefully, she tells herself.
A narrative wild card? Malcolm’s unctuous cousin (Birkett Turton) drops by mid-film, adding another intriguing element to the mix. He’s brought his gorgeous galpal (Eden Weiss) with him, but she barely speaks English and seems uncomfortable to say the least.
How will these puzzle pieces come together? And why is Perkins and co. so insistent on draping the cabin in red herrings?
The third act should be a banger, and Perkins arranges some horrifying scares to grease the story’s wheels. But to what end? The genre isn’t immune to head-scratching moments. Heck, many classics serve up just that.
What happens in “Keeper” feels distracting, not inspired. The story should come to a rousing finale, not one that seems haphazardly arranged for minimum impact.
That’s the scariest part of all.
HiT or Miss: “Keeper” marks a maddening misstep for rising horror auteur Osgood Perkins, but it’s still creepy enough to recommend. Barely.