Fortunately for the villagers, the dashing and famed pathologist John McBride (Boyd Holbrook) has arrived, and he not only wants to solve this mystery, he wants his revenge, because let’s just say John rides alone these days.Īs for the killing beast: Call it a werewolf or call it something else, it’s most terrifying when we’re just catching glimpses of the thing (which, of course, is the case with practically every movie monster ever - to wit, “Jaws”). Edward is bitten by a mysterious, fanged creature, suffers some serious repercussions - and then vanishes into the night. The children of the village, who were doing some poking around where they shouldn’t have been poking around, begin having nightmares.
Dripping in dark colors and foggy confusion with the occasional burst of blood-spattered madness, “The Cursed” is the classic cautionary tale about shameless avarice coming back to haunt you in more ways than one. We’re close enough to see the murders play out in real time and to hear the gunshots and the screaming - but far enough away that it feels almost like someone else’s nightmare.Īlthough “The Cursed” milks its relatively thin storyline a bit too long and engages in some heavy-handed (albeit valid) social commentary about 19 th century colonialism perhaps one too many times, this is an effectively creepy and often bone-crunching horror gem with some striking visuals and a first-rate cast.
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What makes this rendering unique is that after a series of shots from the perspective of the camp, director Ellis (who also serves as cinematographer) keeps the camera (and thus the viewer) at bay, observing this horrific massacre as if we were in hiding. Early on in “The Cursed,” Sean Ellis’ stylish and haunting slow-build twist on the werewolf legend, there’s a classic example of an ambush scene, with a group of armed men storming a civilian encampment of men and women and children - and systematically beating, torturing and murdering the entire community.
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