From its very first shots, as the camera tracks through the thick Irish woodlands, director Corin Hardy makes it clear that there is something sinister lurking in the trees in The Hallow. What follows is a dark tale steeped in folklore and tinged with just a dabble of social commentary. The Hallow is without a doubt a horror film but of what sort? It almost seems as though Hardy has been waiting to jump in the game for some time because he refuses to play in a single sandbox in this feature debut. There are elements of fantasy, the creature feature, body horror and home invasion thrillers, all of which he combines with the expertise of a more established filmmaker.
The mayhem in the plot surrounds English couple Adam and Clare Hitchens (excellently played by Joseph Mawle and Bojana Novakovic) who move into an old millhouse in the Irish backwoods with their infant child and dog. To the dismay of the locals, Adam has been sent by developers to examine the botany in the woods before they begin chopping it down. Warnings from a menacing neighbor (Michael McElhatton) that their baby is in danger are disregarded as nothing more than angry threats. After a window is shattered in the baby’s nursery, a police man (a dreadfully underused Michael Smiley) is called to the house who enlightens the parents of the local beliefs. They laugh off the idea of the woods belonging to creatures called "The Hallow" but they continue to be terrorized. Soon enough all hell breaks loose as the monsters emerge in relentless pursuit of the baby.
The creatures are brought to life with beautiful animatronic effects and practical makeup. You’ll spot numerous nods to modern and genre classics including Cronenberg’s The Fly and a tense attic scene that scream Alien. The deforestation and colonization subtexts introduced early on are held back from becoming commentary focal points, instead they are used as a technique to introduce the mythology. Rich without seeming too expository or convoluted, the mythology is arguably the strongest aspect of the film from a storytelling point of view and from a financial standpoint as there is plenty of room for more stories to be told in sequels.
While one can justifiably complain about the lack of female roles in the film, Clare Hitchens remains a very active presence and is portrayed as strong and competent as her male counterpart continuing the reputation of the horror genre as one that reliably serves up strong roles for women. Giddily borrowing from an array of horror films and genre tropes, Corin Hardy’s The Hallow conjures up something exciting that simultaneously feels familiar and new. It’s a mature and well-crafted picture that should have the attention of horror fans everywhere.
