The Skeleton Key Review
by samseescinema (sammeriam AT comcast DOT net)August 15th, 2005
The Skeleton Key
Reviewed by Sam Osborn of www.samseescinema.com
Rating: 3 out of 4
Director: Iain Softley
Cast: Kate Hudson, Gena Rowlands, John Hurt, Peter Sarsgaard Screenplay: Ehren Kruger
MPAA Classification: PG-13 (violence, disturbing images, some partial nudity and thematic material)
Although The Skeleton Key is a far cry from scary, it's intriguing enough to warrant a confident recommendation. Unlike other psychological horror films of recent times, The Skeleton Key doesn't have a base in Japanese cinema. Don't be fooled by the trailer's statement, "Written by the author of The Ring"; because although it is written by the same screenwriter, The Skeleton Key is not based on the collection of stories The Ring, Ring Two, The Grudge, and Dark Water are. Screenwriter Ehren Kruger, who's been recently accredited to both The Rings, was earlier highly lauded for his writing work in the wonderfully twisted Arlington Road, a film very much different than Japanese Horror. The Skeleton Key finally takes psychological horror to a new setting: Louisianan voodoo. Although many voodooists will likely be offended by the film's crude take on the religion (actually, in the film it's called Hoodoo to avoid relation), the culture is creepy enough for most audiences to look past the religious missteps. The cast is strong all-around, director Iain Softley does nicely with his cameras and soundtrack, and the screenplay prefers solid plot developments over cheap scares. But those looking for a Friday night scare-fest will be disappointed. They'll just have to look forward to Saw II...
The film opens with lead character Caroline (Kate Hudson) taking a new hospice job taking care of Ben Devereaux (John Hurt), whose recent and mysterious stroke has rendered both of his legs inert. Warned by her friend, Jill (Joy Bryant), that the house's location in the swamps implies a strong Hoodoo influence, Caroline takes the job shakily, especially when she runs into Hoodoo first hand at a lonely gas station on the way to the Devereaux's home. Introduced to the home by Luke (Peter Sarsgaard), the Devereaux's lawyer, Caroline soon meets the old-fashioned Violet Devereaux (Gena Rowlands) who's reluctant to hire Caroline as caretaker, suspecting she won't "understand the house."
Soon after taking the job, Caroline begins to discover the home's mysterious history, particularly with Hoodoo. Also suspicious is Ben's sudden lapses in his catatonic behavior. He startlingly lashes out, grabbing Caroline's arm and pleading her to help him. Fishy, to say the least.
Not since Crowe's Almost Famous have I enjoyed a Kate Hudson film. Through various mainstream critical failures, Hudson has taken herself from the A-list and into mainstream casting. Each film shows her talent, but the screenplays fail to exploit it. With the Skeleton Key, the situation is better, if only slightly. She's still the mostly normal, twenty-something, attractive blonde girl, but Ehren Kruger's writing puts Hudson in situations that run the gamut of emotion. Her acting adapts well to each situation and her figure plays well to the PG-13 "partial nudity." She's really the perfect casting choice. Few other actresses fit this role better. The supporting cast also does well, particularly Peter Sarsgaard and Gena Rowlands. Sarsgaard, as usual, does well with what he gets, and Rowlands plays the Southern homegrown elderly woman with ease. Solid acting all-around.
Television marketing has emphasized The Skeleton Key's end twist. For me, the twist wasn't all too surprising. It's where the plot leads. And although Kruger skips a few steps in developing the plot to lead up to the twist, my fellow viewer and I managed to figure it out well beforehand. That's not to say, however, that the ending isn't powerful. The Skeleton Key's ending is simply excellent in every aspect of its telling. Director Iain Softley paces the rollercoaster climax with creepy developments that smartly tie in culture and history with the present plot. It isn't exactly a twist from left field, but it's told wonderfully well.
Similarly, the film fails to scare, but achieves an intriguing story and a focus on a beguiling culture. Kruger's story is solid and Softley's directing style is moody and creative enough to achieve creepiness, if not terror. He doesn't reach the mood caliber of Walter Salles' recent Dark Water, but there's style enough to satisfy. And with a great soundtrack and an excellent cast behind it all, The Skeleton Key makes for a pleasantly surprising August treat.
-Sam Osborn of www.samseescinema.com
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