Imagine that a stranger has suddenly appeared in your courtyard before. No invitation, no announcement, no sense of whom they are or where they come from. They are simply sitting there, on a chair (which they apparently brought?), Covered with what looks like a long black veil from head to toe. They do not seem impatient to approach the house, and they do not seem to be in a hurry to leave the property, located on the outskirts of rural Georgia. This mystery person is simply there. Look. In the meantime … something.
If you are Taylor (Peyton Jackson), a teenager who had to become an adult too quickly, you go into action mode: how to remove this intruder from our lawn? If you are Annie (Estella Kahiha), her younger sister, you express your fear: why does he have the impression of having inadvertently entered into a scary Twilight episode? And if you are Ramona (Danielle Deadwyler, great as always), their recently widowed mother who always recalls a car accident that took the life of their father, David (The hatred you giveIt’s Russell Hornsby), you venture to greet her: Who are you and what do you want? The woman (Okwui Okpokwasili) does not answer her. Not really. But she told Ramona that she was praying for her to introduce herself, so she answered the call. And, according to this sinister silhouette, Ramona must know that “today is the day … today. East. The day. ”
As a particularly concise and deliberately elliptical news, The woman in the courtyard Quickly trace this attractive, wtf-east which continues? Scenario for all the fear that it is worth, while not necessarily in a hurry to fill people on the whole 411 concerning this sticky situation. We know that it was David’s idea of buying this farm in the middle of nowhere, with a chicken coop, in order to ensure that his artist feels less in box by City Living. The guilt and the sorrow that Ramona feels above her death left her numb. The power is out, his mobile phone is dead and the family is extremely low on food and supplies. There are tensions in this household, in addition to a flagrant feeling of absence, even before the lady with the cryptic ends and the bloody palms arises. This is only a matter of time before the confrontations between this visitor and this trio no longer become aggressive, and the dead end between the two parties begins to move from the courtyard to the steps before and beyond.
You could host one or two assumptions about the place where this psychological thriller heads before his arrival, and the script of television scribe who has become script for writing Sam Stefanak has the impression that he studied a lot of novels by Novellas and Rod Serling by Stephen King to an equal part. There is much more suggestive and disturbing fantasy here in the sense of the Gothic producer of producer Val Lewton for RKO than the type of jump efficiency machine that you associate with modern horror; It is difficult to think of a film that has used rampant shadows more effectively in recent years. And even if the prolific director of the workstation, Jaume Collet-Serra, sometimes makes things stylistically more busy than they sometimes need to be-and superimposes his hand in the third act-he is much better as Go-Go-To-To-To-To-To-Go-Grena by Liam Neeson or a studio companion for the studio. If projects like this surprisingly solid go to the return of the repressed prevents him from doing things like Black Adam And Cruise in the jungle (or help him finance a series of his absolute banger from a 2016 survival film The shallows, Because a boy can dream), we look with pleasure in theaters to support him, the black veil and everything.
