Victorian Psycho by Amber Wilkinson

Horror and comedy often find unexpected harmony in cinematic storytelling, with films like Shaun Of The Dead and Get Out proving that scares and laughs can indeed make amicable bedfellows. Yet, when examining the highly mannered and stylized approach taken by director Zachary Wigon and writer Virginia Feito in their adaptation of a novel, the result feels less like a balanced blend and more like an uneven cut between those two genres.

This is particularly true in the tale of grisly machinations played out by an unhinged governess. While the film certainly delivers some gruesome moments, it struggles to establish the deep tension that should underpin such a narrative. The execution manages to be gory, but often misses the vital psychological edge necessary for true cinematic dread.

The setting provides a gothic backdrop for this unsettling story. We are introduced to Ensor House, an isolated and brooding manor that serves as the stage for a very strange domestic drama. Inside these walls reside a family defined by their peculiar dynamics: the lecherous patriarch Mr Pounds, his social-climbing wife Ruth Wilson, their bratty son Andrew, and the mysterious daughter Drusilla.

At the heart of this unsettling environment is Winifred Notty, who steps into the spotlight as the seemingly sanest person in the room. Taking on the role of the villain for once, she arrives at her latest appointment amidst the manor’s shadows, setting up a narrative where sanity and madness are constantly at war. It is within this high-stakes domestic scene that the film attempts to balance the absurdity of the situation with genuine horror.

By Liam Brooks