THE LODGERS: Promising, But Unfulfilled

There is a family curse on twins Rachel (Charlotte Vega) and Edward (Bill Milner), that has them resigned to their mansion in 1920’s Ireland. An intriguing plot that horror The Lodgers explores.

It’s clear from the very beginning that they are restricted to a very particular set of rules, serenaded in a lullaby: They must be in bed by midnight, no one other than them can come inside, and they can never leave one another alone.

There is an underlying eerie presence, and the stakes are high, as we see Rachel rush back home in terror as the clock strikes 12, but what are they? I was invited to discover the specifics of the tale, and while visually satiated, the film left me wanting more.

A Melancholy Backdrop

These two siblings are all alone, stuck in their home, with only the occasional outside contact. In one of the earliest scenes we see the two engaged in a violent moment, with Edward reprimanding Rachel for her insolence. This gives insight to the fragility of their relationship.

One of their occasional visitors is the lawyer who helps with the finances and estate Bermingham (David Bradley), and who doesn’t seem to have their best interests at heart. A small town outside of their home gives recluse to the indoor shots, and to Rachel who sporadically makes trips in.

There she meets Sean (Eugene Simon), an injured veteran and son of the local shopkeeper Maura (Deirdre O’ Kane). His sister Kay (Roisin Murphy) is friendly to Rachel, but doesn’t have a lot of significance to the plot. There is a similarity in the two young females, each yearning to be free in some way, but it doesn’t get much opportunity to blossom. Moe Dunford briefly has a role, as the town creep Dessie, but – short of providing a bit of bullying – doesn’t have much of a point.

At first things are a bit mysterious. What are these forces that require the rules to be kept? We briefly hear their voices, and catch glimpses, enough to substantiate that they are sinister, but not much else. There are some jump scares, and the occasional interesting effect. There is water that rises out from the floor after midnight, and the indication that the lake on the property is connected, but even by the end I’m not sure. Are they ghosts?

A Downward Slope

As it progresses it is uncovered that this family, including their parents before them (who look exactly the same) have been under the same restrictions for centuries. The beginning of the film shows them on their eighteenth birthday, which seems to be -based on their family history – the beginning of the end. Their finances are running out, and change is clearly coming. This also shows us the main differences between the twins.

Edward seems more reluctant to push boundaries, and more content to stay in their crumbling mansion together. Edward never wants to leave the estate, and beside interactions with his sister, spends his time with a crow he finds trapped in the chimney. His character is lonely and hurting, but also resigned to his fate.

Rachel wants to escape her fate. She begins a romance with Sean, but I’m not sure it is because of actual feelings for him, or the appeal of his assistance in her escape. Both are terrified of consequences, and that suspense is maintained throughout the film. Since neither can leave without the possible demise of the other, these twins are eternally bound. But is it out of their control?

My favorite aspect of the movie somehow also turned into one of its shortcomings. The plot, which has a very original core story, seems incomplete. There are times when the film coasts, not entirely thrilling or keeping you. The crawl of the film makes it difficult to succumb to its clutches. Some of the characters flow, others just aren’t as compelling. While both the siblings perform adequately, at times Bill Milner seems to come on too strong, and Charlotte Vega could be better developed.

In fact, the character of Rachel, who is both fierce and vulnerable, deserves more depth. Her romance with Sean is so fleeting, that it is barely a concept. I don’t want to give away too much of the limited plot, but it seems by the end that he’s willing to sacrifice himself for her, and yet the heartbreak of that doesn’t feel real.

The music (co-composer is writer David Turpin) is noteworthy as it keeps the mood alive even when the film careens, and Brian O’Malley manages his artful intentions with vivid clarity.

Conclusion: The Lodgers

Atmospherically the movie does a fantastic job of honoring its Gothic inspirations. The decor, costumes, set design and locales are beautiful and haunting. It’s an unfortunate conclusion, but I enjoyed the film’s aesthetics more than its substance.

This enigmatic concept is dangled in front of the audience, but often it is pulled away too soon. By the end, the script from writer David Turpin is watered down. It seems that The Lodgers never quite meets its potential. This is the kind of film that has been done before, better, but that I believe keeps us optimistic for the future of those involved.

Did you agree? How did The Lodgers make you feel? Let us know in the comments below!

The Lodgers will be released in the US on February 23rd and in the UK on March 1st. For more on international release dates click here.