Fluctuating between the brilliant and the unremarkable, the filmmaker’s body of work is a sensitive seesaw, ready to shift its weight at any given moment.
Emanuel digs knee-deep into the prevalence of racist violence reaching yet another horrible conclusion with the acts committed against the Charleston 9 that fateful day in 2015.
Where the company has become an auteur-like entity synonymous with good, cheap thrills, The Keeping Hours just isn’t scary enough to live up to Blumhouse’s horror brand.