Echoes of Fear,
Starring Trista Robinson, Hannah Race, Paul Chirico, Marshal Hilton, Norman Zeller
Directed by Brian Avenet-Bradley, Laurence Avenet-Bradley
Arriving after generating a lot of good word of mouth on the festival circuit, Brian and Laurence Avenet-Bradley’s Indy US horror offers the discerning horror hound an intriguing, well-made, gloriously slow-burn take on the age-old haunted house genre, not using the (to me anyway) increasingly annoying jump-cuts to generate fright (I don’t think they do, startling is not the same as creating terror or fright), but by doing it the correct way, taking time to build atmosphere, slowly building up events and adding in some red herrings, to draw the viewer deeply into the film.
As you may guess from that statement, I am a sucker for a good haunted house story, but all too often come away disappointed by directors who opt for predictable cliché and quick jumps in lieu of the effort of deeper storytelling and atmosphere-building, the sorts of things that really make a good ghost story work. Here the Avenet-Bradley’s do take that time, allowing their camera to explore the huge, unusually laid out old house from intriguing, often unsettling angles, and their minimal cast (Trista Robinson as Alisa carries much of the film herself, her boyfriend, Paul Chirico as Brandon, often absent – also fairly useless in helping her – her only main help her best friend, Steph, played by Hannah Race) to lay down those foundations that let the story grow at its own pace.
Alisa has inherited this huge, rambling, hillside house from her doting, loving grandfather, who supposedly had a heart attack in the shower… Except a brief prologue hints to us that perhaps this wasn’t quite natural causes and there is someone, something in the house. Alisa moves in with the intent of sorting through her grandfather’s belongings, fixing up anything needing repaired and selling the house on. Her boyfriend can only stay briefly, leaving her mostly on her own, apart from visits from her friend Steph, even when Alisa starts to worry that there is something not right in the house.
The house itself is almost another character in this minimal cast ensemble. Built on a rocky hillside it has multiple levels sloping down, and many rooms, an awful lot of storage spaces (more than you’d expect), crawl spaces behind walls and under the lower parts of the rambling structure, concealed elements above in the high ceiling upper parts. The camera glides around all of these by day and night, and soon generates a feeling of unease even before anything much has happened – there is something just wrong about this house, the size, the layout, the multiple rooms and closets, the hidden little nooks. Despite her growing unease – at first she fears a squatter has been using the weird design of the house to sneak in and camp out somewhere, and she may be right – Brandon shrugs everything off and leaves Alisa to sort the place out.
But she is right, there is something wrong with this place, and not just a potential squatter. It starts slowly, finding something in a different place from where she left it, wondering if she just imagined it, noises that may just be the sounds of an old house or may be something more. Finding items from a squatter in a concealed area should solve that mystery, but no, that’s not the main cause of the noises and unease. The camera follows Alisa through both big, open spaces, like the high-ceilinged, broad living room to the tight confines of the crawlspace under the house.
While you’d expect the latter to create a nice, claustrophobic fear, which it does, the Avenet-Bradleys also manage to craft that fear even in the more open, well-lit spaces, making Alisa seem vulnerable to something that could come from anywhere around her. Even minimalist moves like the camera looking out of a brightly lit bedroom into a dark hallway beyond the open door contrive to create a creeping unease – such a simple move but so effective (it reminded me of Dyson and Nyman’s Ghost Stories, which took a dark staircase in an ordinary suburban home and also made it creepingly terrifying through little more than slow camera moves and darkness and tension).
As Alisa realises there is more going on than a squatter, she attempts, despite her fear, to deal with it in a fairly practical fashion, she’s quite resourceful and determined (I would have been running out of there!). Since most ghost lore hints that a spectre remains because it has some unfinished business in the mortal realm, that it needs help to complete before it can move on, she starts to investigate the house, and her grandfather’s death. Was it really a heart attack? Was this presence there when he lived here? What does it want? Is it connected to her family in some way she doesn’t know, or just a random manifestation?
I’m not going to go any further on those latter points as it would risk us crossing over the border into that unattractive land of Spoiler Country. Suffice to say Alisa is going to investigate, and there may be more going on here than at first we may think. In many ways Echoes of Fear plays the many classic tropes of the Old Haunted House genre, but in many other ways it takes its own path and its own style to generate a genuinely dread-inducing ghost tale, wonderfully slow-burn, building, building, building, to a satisfying crescendo. This is one to watch good and late at night, with most of the lights out, for maximum effect!
Echoes of Fear is released on demand and download by Second Sight from July 20th, and on DVD (Certificate 15) from August 3rd.
This review was originally penned for Live For Films