The Watchers: A Daughter’s Debut in the Woods - A Review
Mina (Dakota Fanning), haunted by grief, seeks escape in Galway, Ireland, opting for it over therapy. Still affected by her mother’s passing, Mina works at a pet store. She spends her free time in bars, under a wig, telling fabricated stories to men about being a “Swan Lake” dancer. She soon gets a job delivering a parrot to a zoo near Belfast, a beautiful creature that hardly makes a sound. As Mina drives through stunning scenery, her car breaks down in a deep, dark forest, instantly plunging you into nature.
The seemingly empty forest has its watchers. Mina soon crosses paths with three strangers: Madeline (Olwen Fouéré), a silver-haired charismatic woman, the unsettling Daniel (Oliver Finnegan), and a young woman named Ciara (Georgina Campbell). They fill her in: there is no escape, and a race of monstrous “watchers” lurk within the woods, observing vulnerable humans “hidden” away in a glass box for observation.
A Budding Director’s Freshman Effort
Let’s talk about the director. Ishana Shyamalan, M. Night Shyamalan’s daughter, who also produced the film, marks her debut with “The Watchers”. Prior to this, she worked on the series “Servant,” meaning she’s not entirely new to the game.
Unfortunately, “The Watchers” feels like a very early piece, suffering from the common pitfalls of a first film. Shyamalan relies heavily on atmosphere. There is an oppressive soundtrack, it is a very gothic-feeling forest, well-cast actors with very striking features, and a colourful parrot initially draw you in. But then, the slow advancement of the story struggles making it difficult to maintain this momentum and falters.
Based on a novel by Irish author A.M. Shine, “The Watchers” had further support with an intriguing concept well-suited for horror. However, the director’s slow pacing and overuse of exposition prove detrimental. In horror/thrillers, you should be actively trying to work out the puzzle instead of passively listening to lengthy monologues. Regrettably, this movie is a film of unfulfilled expectations.
Formally, you have characters are hiding from monsters and engaging in conflicts to find a way out. It lacks energy, and you feel as trapped as the stars in the film due to the reflective nature. The monsters and primordial trees are no accident. The story unfolds as a heavy metaphor for grieving a loss of a loved one and after one’s self after a traumatic experience. Mina dealing with role in her mother’s death, repeating shouting “Yes, we get it!”.
Predictable Plot Twists and a Lackluster Finale
Continuing her father’s legacy, Ishana throws in a few plot twists at the climax. Clumsily, without imagination, sometimes bordering on funny. The final act does provide action, but slow advancement of the plot overshadows the climax. It’s a horror movie without any scares that began with great potential. Despite its lack of originality, there is potential. It may be as simple as growing as a director.