Plot: What’s it about?
It’s hard to believe that for a production company as ubiquitous as Blumhouse, that it had to start somewhere. It did. In 2007 the then fledgling company gave us Paranormal Activity. It was a huge box office success that didn’t have a lot in the budget. That film, of course, spawned several sequels but more importantly it put the Blumhouse name on the map, movie-wise. There were other films, of course, like Insidious and Sinister each making their respective marks on the industry. But when your film grosses nearly $200 million worldwide on a scant budget, you’ve got the notoriety and, more to the point – money, to do what you want. This brings us to The Woman in the Yard. There wasn’t a lot publicized about it and not a lot given away in the trailers and there’s a reason for that – it’d ruin the film. Like Companion, there’s a twist that if known, wouldn’t make it any fun for the viewer and where’s the fun in that?
We meet Ramona (Danielle Deadwyler), a depressed widow living in an old farmhouse along with her children: Taylor (Payton Jackson) and Annie (Estella Kahiha), both of whom are also grieving. Ramona’s leg is still messed up from the car wreck that killed her husband. When the children wake up to find that the power’s out and the cell phone battery dead, it’s not good news. Things get even weirder when Taylor notices a strange woman (Okwui Okpokwasili) in the yard (for a visual, look at the cover art). They won’t know who she is, how she got there or what she wants. But…things can’t be good, right?
And…that’s where we’ve got to stop. To tell anything more would ruin the surprise and we don’t want to do that. I will say that there’s a lot at work here and that the “less is more” motif works here. Actually I can’t imagine it working in any other way. If you’re a fan of the films of Jordan Peele or M. Night Shymalan, then this film will likely be up your alley. It carries the Blumhouse name, for sure, but I’d call it an offshoot of their more commercialized horror films. Or maybe that’s just me. At only 88 minutes it’s not a huge investment of your time, but rest assured that it’ll be time well-spent.
Video: How’s it look?
There’s a lot at work here visually-speaking. The film (or the filmmaker, rather) seems to share a lot of his style with other noted directors like M. Night Shymalan and Jordan Peele. Or maybe that’s just me? Still, when it comes to horror films I’ve always felt that less is more and the cover art should say it all – this certainly fits the bill. What also works, and to no one’s surprise, is the 2.39:1 AVC HD image sparkles on its muted color palette. Detail is, of course, top notch and black levels/contrast are rock solid. It’s a great-looking, though “visually ambitious” film.
Audio: How’s it sound?
We find the film sporting a Dolby TrueHD track. I’ve always considered TrueHD the lesser counterpart to Dolby Atmos and I’ll go out on a limb and say that I’m correct in that assumption. If not, well it’s a review of a movie that I’ll not watch for another few years, so there’s that. As with any horror film, we do get the obligatory jump scare or two, but strong vocals and an ambiance that’s palpable (at times) only sweeten the deal. No complaints here, this one rocks (at times).
Supplements: What are the extras?
- Making The Woman in the Yard – Travel through the darkest corners of the film during this behind-the-scenes journey where filmmakers work with cast to craft a story that is both haunting and human.
- Beneath the Evil – Cast and filmmakers lift the veil on the film’s frightening figure for this revealing look at the themes, designs, and styles that shape her eerie specter into a powerful presence.
The Bottom Line
This is one that will likely do two things: polarize viewers and will keep you thinking long after the credits roll. At least it did with me. I do have to applaud the filmmakers for coming up with something original, however, instead of giving us yet another remake, sequel or reboot. Universal’s disc is a bit light on supplements, but excels in the technical categories.
