It kills me that this film is being hailed by some out there as a masterpiece. True, it is heads above the usual trash I see that passes for horror, but just because a film reaches a little more does not make it a masterpiece.
"Hereditary" is a film whose parts are better than the whole. These parts come from some genuinely skilled performances by Toni Collette, Gabriel Byrne, Alex Wolff, Mallory Bechtel, Ann Dowd--just LOVE her!!!!!!!!!!--and a remarkable child actress named Milly Shapiro, whose screen time is far too short, as she is a most interesting character. As the film unwinds, it becomes apparent why she is not in the film that long, and it is for a specific purpose.
Alas, this is one of those films where I will have to discuss plot aspects, so if you have not seen the film, and plan to, stop reading, right now.
Don't say I did not warn you.
The film opens with a newspaper obit against a black background. The obit turns out to be that of Annie's (Toni Collette) mother. The camera artfully shows us the most perfect tree house ever--none of the ones I played in as a kid were ever like this--and then pans inside the house, where the family is preparing for the matriarch's funeral service. At said service, her daughter, Annie, delivers a cryptic, almost embittered eulogy, throwing out several of too many red herrings--her mother was "strange," "manipulative," "ritualistic"--that come hurling at the audience as the film goes on. At the heart of everything, we are in "Rosemary's Baby"/"Repulsion" territory, and I am convinced those who think this film is a masterpiece have never seen either of these earlier films. If not, it is high time they did.
So, is what happening real, or in the minds of its characters? The two central tragedies--the mother's death, and, later, the daughter's--are real, but were they predestined for a supernatural cause? Because, why in the world would any mother let her 13-year-old daughter go to a party where there will be older teens, sex, and drugs? And what brother would agree to take her?
There are so many incredulities in this movie that it is almost futile to try and make sense of it.
The film's pace, which is far too slow and ponderous for a good horror film, is also, unfortunately, derived of any humor. Someone on this film was connected with the 2015 film, "The Witch," that had Black Phillip, the goat, the best on film animal performance of recent years. His skill and humor livened things up.
Here, we have to settle for Ann Dowd and a photo album, showing an obviously post menopausal woman in a wedding gown! Huh? The Devil's child? Oh, no, her ship has sailed, honey, it cannot be that!!!!!!!!!!!!!!!!!!
What it turns out to be involves transmigration of souls--borrowed from "The Mephisto Waltz," and a not too willing Prince Of Darkness, who looks as puzzled as the audience when the film ends. My initial reaction was, "We went through all THAT for THIS???????????"
The visuals, and Toni Collette losing it, make the film worth watching. Girls, I am telling you, when Toni goes mad, it is like Geraldine Page on crack! Talk about going for the jugular!!!!!!!!!!!!!!!!!
All the actors, right down to Milly Taylor and Mallory Bechtel, in a minor role, get big, key, dramatic moments, which are fun to watch, as they are rendered so professionally, while the actors manage to keep a straight face.
As I walked out, I felt as confused as Peter, at the end. How does this work out for him? And how does it work out for the audience?
The problem is, it does not. The audience should come out of the movie caring about something or someone. Instead, I felt as indifferent as having emerged from a cheesy spook house ride.
Here's my word to the filmmakers--
Learn some understatement, guys! It does have its uses!!!!!!!!!!!!!!!!!!!
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