Shelley

Like watching a Tarantula molt, this film is incredibly fascinating, disturbing and effective. But, man, is it slow! Everything happens at a snails pace, and regardless of how thought provoking the events are, it does not excuse the pace of this supposed "horror" film. I am all for a slow-burn, in fact, I prefer them to teenage jump scares and other sophomoric tactics. But this movie literally made me want to watch it at 2X the speed, just so that people would pick up the f-ing pace. You know how there are movies that would have been effective if the creative teams knew how to just get to the good parts and edit themselves accordingly? This is one of those films. Had they been more overt with the horror elements, and made things flow just a bit faster, this would have been a worthy addition to the "baby horror" sub-genre. As it stands, it plods along, thinking it is being suspenseful, but in reality, it's just not getting there fast enough. Not recommended, as I am unsure that even the most ardent "slow-burn" fan will appreciate the pace of this film. That being said, the acting is superb, and the cinematography is top-notch.

Almost everyone compares this movie to Rosemary's baby but I don't think it's right. Imho this movie isn't about demonic children but it's a metaphor for the obsession of motherhood (could be applied to fatherhood too tbh).

There are people who are incredibly determined to have a child in spite of the most adverse conditions: phisical, social and emotional. They just want their baby no matter what, even if this mean force or trap the other parent. Imho this is what the movie is about.

Louise (Ellen Dorrit Petersen) and Kasper (Peter Christoffersen) want to become parents but Louise is unable to have children. She seals a pact with her Romanian maid, Elena (Cosmina Stratan), to bear Louise's child, but things don't turn out as they planned.

What sort of feeling or anticipation do we get when we approach "Shelley"? At first, the name evokes thoughts of Frankenstein's monster, but we quickly see this might not be the best parallel. The plot is much closer to a modern retelling of "Rosemary's Baby". Not that we needed one, but the concept of "natal horror" can always make room for one more.

The dynamics of this film are noticeably different from "Rosemary". In that film, the threat was always external. Mia Farrow was terrified of her neighbors, her doctor, and sometimes even her husband as she continually felt boxed in. With "Shelley", it's almost as though things have been reversed. The threat now comes from within (the child itself) and we see events not just from the mother's perspective, but also from the outsiders (the "other" parents).

The idea is good, and they must be applauded for casting an actual Romanian in the role of a Romanian maid. This is sort of counter-acted by having Danish people speaking English, however. I presume this was done to boost the chances of international screenings and sales, but it seems inauthentic. This is probably a nitpick, but in this regard I have to be a purist.

The bigger question remains: Why does the couple live in the woods without electricity? The answer, of course, is this offers a great setting for a horror film. But it is not adequately explained by the characters. You might think an employee would ask why there's no power, but it never seems to occur to anyone. Are they Luddites? Is this a religious thing? Maybe a little mystery is good, but it seems silly to avoid the issue altogether.

Early reviews seem to be very divergent and often mixed. Rotten Tomatoes has the film at an impressive 100%, while IMDb gives the movie only 5.7/10, which is nothing to be proud of. It's too early to rely on either metric, so let's look at more concrete examples. Noel Murray walks that middle line, saying the film "becomes frustratingly vague in the middle" but ends up giving it a passing grade anyway. Neil Genzlinger feels similar, saying the film takes "a minimalist approach that is both intriguing and somewhat unsatisfying… Maybe expecting a horror film to have a point is expecting too much." He clearly wants to like the film but cannot fully commit to it. Alissa Simon is even less impressed, agreeing that the film is "unsatisfying", and also volunteering "underdeveloped" and "ludicrous".

For my money, the film is a decent horror film in its own right and will probably be popular when it hits Netflix or wherever it ends up. But it is neither one of the best on the festival circuit nor one of the best horror films of 2016. In the glut of movies coming out year after year, this is still better than average, but the average seems to be on a decline… so it doesn't take too much to get a C when we're grading on a curve.

"Shelley" debuted in February 2016 in Berlin, and has been making the festival rounds. Most recently it screened at the Fantasia International Film Festival in July. No rest for the wicked, however. Director Ali Abbasi is said to be already at work on "The Holy Spider," a film about Saeed Hanaei, an infamous Iranian serial killer. (Other sources have him directing "Border", which may be the same film under a different title.)

The plot of the movie is simple but it develops fairly astonishingly. The dark atmosphere starts to appear from the beginning of the movie and turns into a not releasing stress in the middle. The suspend builds up all the way close to the ending which is the strength of this movie.

The movie has three distinguishing features:

The English language has made it possible to be understandable by many audiences and the writer has used the excuse of a foreign maid in the house for English language.

I was sick of the ghosts of many recent horror movies which had their mouths open too wide and loud. This movie was a cool breeze away from the failed horrors. The director has done an amazing job to keep up the suspense with almost no special computer effect or crawling long hair lady.

The performances of the actors were really satisfying. Except for the two women, the others were not talking that much which was good. The two women (Elena and Louis) were pretty good and amazing at some scenes.

All by all, a great movie which I re-watch Although I would like it more if it was longer and it had more development at the ending.

A subtle horror film not without its moments of suspense and utter creepiness. We follow Elena (accountant turned housekeeper, for some reason) who gets close to her employers (a couple who live in an isolated house without modern amenities, for some reason). She wants to save money quickly to go back to her son and so agrees to be surrogate mother for their baby.

The film was too slow for some, so if you need quick doses of jumpscares and shock tactics, this isn't one for you. However, I found the departure from mainstream action horror and script to be very refreshing. I was not bored at any point in the movie, because it does an excellent job of building character and relationships in the first half hour. If anything, I was impatient to see where it was all leading, because the story has some unpredictable turn of events.

Not a lot was answered by the open ending, so you need to pay attention to little details throughout the film, and theories will inevitably run amok with plenty of evidence for more than one horror scenarios. Also, it is always a good sign when you can sympathize will ALL of the characters (which are few to be sure, but very well played).

It is the most convincing horror movie to come out in a while, and I recommend it to anyone who can get roped into a horror story without a sense of urgency.