by Rex Meyer For the past few years, horror has seen a renaissance in the cinematic world aided by sophisticated storytelling, complex metaphors, and multi-dimensional characters. Films such as Hereditary showcase the turmoils of grief and familial relationships under the guise of the occult, while Jordan Peele’s Oscar-winning Get Out reflects the horrors of racism and the liberal ignorance of white America. Still, every so often there enters a horror movie whose intentions to tell a terrifying yet profound story are mutilated by a static, pretentious, and inept plot progression unable to sufficiently scare audiences and critics alike. Veronika Franz and Severin Fiala’s winter horror film The Lodge fulfills this sentiment to a bitter degree. Released in a limited engagement on Feb. 7 before opening nationwide on Feb. 21, The Lodge details the bleak dynamics of a family ravaged by a tragic loss. Afflicted by an extended separation, Richard has recently informed his devout Catholic wife, Laura, that he plans to divorce her so he can marry his girlfriend Grace. Upon hearing this devastating news, Laura commits suicide, leaving her son and daughter, Aidan and Mia, grieving her abrupt departure from the mortal world. Now living full-time with their father, the pair accompany him and Grace on a trip to a remote New England lodge for the Christmas season. Due to prior work obligations, Richard ends up leaving his kids to adjust to life with their future stepmother. Unfortunately for Aidan and Mia, Grace’s dark and mysterious past full of grim secrets intrudes into their time inside the family lodge.
Compelling performances are both frightening and surreal
Chilling atmospheres offer a suspenseful viewing experience.
The Lodge’s illogical build ups frequently go nowhere.
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