A movie about death where the most notable victim of that scourge is subtlety, there isn’t much digging needed to get at the message of “Went Up a Hill.” A classic haunting yarn that’s more “Exorcist” than “Paranormal Activity,” the latest effort from Kiwi filmmaker Samuel Van Grinsven is spooky, but too often finds itself watered down by oppressive vibe, subtext, and foreshadowing.
The opening minutes of “Went Up a Hill” see Jack (Dacre Montgomery) traveling to New Zealand’s South Island for the funeral of his mother, Elizabeth. Among the attendees are Elizabeth’s sister, Helen (Sarah Peirse), and wife/widow, Jill (Vicky Krieps), both of whom seem confused by Jack’s presence. Jill invites him to stay in her residence for a few days, and he awakens that first night to his dead mother inhabiting Jill, who says, “They took you from me,” before passing into Jack himself.
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These possessions repeat each evening one at a time, with Jack or Jill experiencing Elizabeth through the other (sometimes in rapid succession). And while these moments start out as a way for both parties to gain a little closure and ask lingering questions never posed in life, the toxic, mean-spirited, and abusive side of Elizabeth begins to dominate the interactions. It becomes clear after the first few visitations that Elizabeth isn’t hanging around for closure, and the things that made her relationship difficult with both Jack and Jill in life will continue well into her death.
Again, none of this is very subtle: not that one would reasonably expect that with leads named Jack and Jill in a movie not-so-cryptically titled “Went Up a Hill.” It is effective, consistent, and direct with its tone, narrative, and pacing; however, in 95 efficient minutes, it accomplishes what it sets out to do. The script sets up the central mystery of the two leads and the conceit for this particular flavor of haunting in the first 20 minutes, and is careful to fire every Chekov’s gun left out on its table before the credits roll.
Even so, it’s just not…fun? The deeper the movie gets into the whys and wherefores of Jack and Jill’s history with Elizabeth, the darker things get (true in both the figurative and literal). This would seem altogether appropriate considering the genre, yet the inevitability of the story beats and set-ups rob the effort of any sense of spontaneity or shock, leading to what feels like a foregone conclusion. People’s lives are at risk, there are real stakes, and the particulars of how things will end up might not be immediately explicit, yet nothing in the third act is likely to shock a viewer in this one.
The lighting and camera work obscure interior backgrounds, giving the scenes (the possessions in particular) an ethereal, isolated feeling with their shallow depth of field. Monochrome color schemes in set design and wardrobe are matched in the scene set-ups, sucking the vibrancy from each frame to further inform the mood and posture of the story. And while effective, again, the overall feeling is so overbearing and telegraphed that it removes the one thing any good ghost story needs: suspense.
The film’s most notable achievement is fleshing out a full character, Elizabeth, who viewers never actually meet except by way of Jack and Jill. By the end it is known with one hundred percent certainty who this woman was, and it isn’t a pretty picture. She was mean, toxic, violent, dangerous, and a strong enough force of evil that not even death could conquer her. It’s a credit to Krieps and Montgomery’s performances that this comes through as well as it does and reads as genuine in a production committed to artifice.
And as far as productions go, “Went Up a Hill” is a handsome one, and is at its best when outside and taking full advantage of its halting yet beautiful setting. This isn’t the wide-open, majestic New Zealand of the “Lord of the Rings,” yet it is no less imposing or full of character. Cold, vast, and on the border between the wild and civilized, D.P. Tyson Perkins uses these exterior set-ups like precious arrows in a too-bare quiver.
There are only a few scenes outdoors, though, and even less in the way of dynamic, challenging storytelling despite apparent successes in just about every obvious category one can use to judge a film. Indeed, solid performances, a clever conceit, and technical over-competence behind the camera bolster what is ultimately a predictable and sometimes unpleasant viewing experience. Mileage may vary, particularly for those with a ghost kink, but “Went Up a Hill” is mostly tumbling down and broken crowns. [C]
Warren Cantrell is a film and music critic based out of Seattle, Washington. Mr. Cantrell has covered the Sundance and Seattle International Film Festivals, and provides regular dispatches for Scene-Stealers.com. Warren holds a B.A. and M.A. in History, and his hobbies include bourbon drinking, novel writing, and full-contact kickboxing.
