The Ones Below

"The Ones Below" is a decent enough little chamber piece on the perils of parenting, particularly if you suspect the neighbors downstairs covet your new-born baby. It marks the directorial debut of writer David Farr, (he wrote "The Night Manager" for television), and it's nicely done but in the end it's just too unpleasant to be entertaining. Basically a four-hander and well played by Clemence Poesy as the new mother convinced her neighbors are up to no good and by David Morrissey and Laura Birn as the neighbors, (personally I would have moved out five minutes after they moved in). It's let down only by Stephen Campbell Moore as Poesy's partner. Considering his outing in a similar role in the nasty little horror picture "The Children" some years back I would suggest Mr Campbell Moore get the snip sooner rather than later.

Well Acted and Suspenseful Psychological Thriller that is held Down by an Obvious Ending that is Telegraphed in the Second Act. There is No Twist to that and once the Twist is No Longer a Twist, everything is Less than it could be.

The Ending is also Drawn Out like it Thinks You didn't see it coming. Oh My! Didn't Everyone? So the Third Act is a Ho Hum, get it Over with affair. It isn't a Bad Movie just one that is Short on Surprises and in a Psycho-Thriller that's a Death Sentence.

The Cast tries hard and the Emotional Dial is set at 10 most of the Time and it makes for some Engagement and Intrigue, but it really has Nowhere to Go after the Middle. The Movie is Shot with some Style, but the Familiarity with the Story is its Premature Problem.

Overall, Worth a Watch but Ultimately a Let Down for those accustomed to this Type of Thing. A Good Effort Overall, but Average or just Slightly Above.

In 2016, a British thriller entitled The Ones Below was released, though it originally first screened at the Toronto Film Festival the previous year. While it did sweep under the radar, there is a good chance that this film will go on to be a cult classic in the near future. As for what I think, while it did leave me horrified the first time watching it, I will admit that it isn't without its flaws. That being said, what does make the film intriguing to watch is how it tackles the frustrating anxieties of early motherhood, and subverts these themes with paranoia.

The film revolves around a married couple named Kate and Justin who have recently had a baby. However, when new neighbors named Theresa and Jon have moved into the flat beneath theirs, tensions begin to rise with their friendship regarding said newborn. Writer/director David Farr succeeds very well at showcasing the hormones and emotions of a mother during a time like this. Although if you may be ecstatic that you've made a human being of your own, it doesn't necessarily mean you automatically know what you're doing in a situation where your life could be at risk. In addition, given Kate and Theresa's friendship, Farr manages to make even the simplest conversations feel innocent albeit awkward and unsettling.

With two suspicious neighbors comes idiosyncratic character traits, and compared to the more seemingly light hearted Theresa, Jon is more abrupt, making Kate and Justin's interactions with them become all the more disturbing. In fact, after the baby Billy is born, odd occurrences and disturbing noises keep on arising, which nearly drive the couple nuts: from car honks, to muffled baby monitor sounds, to even a cat slinking underfoot. With tense moments like these, there are definite comparisons to be made with Rosemary's Baby, let alone by the subject matter and the lean and brisk tone. Not to mention, it's great to see a horror movie nowadays without a single jump scare, or even gore for that matter; nice change in age.

In terms of negatives, while the twist is very well structured and horrifying, the climax does drag on at points to get there, and after a while it does become a little too obvious what the outcome will be. Also, even during the film's second act, Theresa and Jon's intent becomes pretty obvious if not inevitable, and even with all the stakes that occur, the narrative really starts to reveal how straightforward it really is. Nonetheless, I still recommend The Ones Below for its unsettling atmosphere, subversive mix of parenthood and paranoia, and its traumatic twist that will give you trust issues for the rest of your life. The truth is that there are plenty of people out there who will end up causing you suffering for the sickest of reasons, and this film understands just how risky raising a child can really be.

I'm a big fan of cult classics such as Rosemary's Baby so when I saw the trailer to this movie, I was intrigued.

The first third of the movie was quite well done; the mood was creepy and weird as intended, the actors were marvelous; the suspense really drew me in and I wanted to find out how this movie would pan out.

Then it got reeeeeally slow. It dragged on and the repetitiveness made it very hard to push through. Midway through, the mystery of the plot has already become quite obvious and predictable as it has been constantly spelled out to us over and over again. So by the end, the only way to save this movie is for an unexpected twist instead of the predictable ending. But no twist. Just a creepy, linear story with ok acting.

Partly funded by the BBC and premiering at the Toronto and London Film Festivals, The Ones Below is a demonstration of the lack of imagination in British cinematic language that's really disheartening. British cinema is often great from the eyes of an auteur with something to say, such as Mike Leigh, Terence Davies and Shane Meadows, but when it comes to something like this which is supposed to simply be a piece of thrilling entertainment, it's disappointingly one- dimensional. I yearn for more emerging voices to get this type of exposure instead. The Ones Below is like a very good and expensive student film. Had it been conceived from a recent graduate, it'd earn a bit more of a pass. Instead, it's overthought and underdeveloped, too often opting for cheaper tricks and easier melodrama.

Clémence Poésy, a familiar face from her role in Harry Potter, In Bruges and 127 Hours, plays mother-to-be Kate who just moved into the top half of a duplex with her husband Justin, played by Stephen Campbell Moore. Apprehensive about their downstairs neighbours, they avoid them until Kate discovers that Teresa, played by Laura Birn, is equally far along with her pregnancy. They swiftly become friends and she invites Teresa and her intimidating husband Jon, played by David Morrissey, upstairs for dinner. Though friction with conflicting personalities initially rustles tensions, it's an unbearable tragedy at the dinner's end that sparks the film's ultimate story of parental paranoia in the vein of Roman Polanski's memorable motifs on women in apartments.

To be fair, Poésy really commits to the film in the first performance I've seen from her which isn't somewhere between a bit part and a supporting character. She combats the melodrama with a rawness that really benefits the film. The problems come in the film's contrivances and staging where each actor's hesitations and reactions are over measured. Perhaps this is due to writer/director David Farr's previous theatre background, as it very clearly shows his lack of nuance when it comes to the bigger screen. Throughout the whole aforementioned dinner sequence, Morrisey's eyes are shrouded in shadows as if the idea of his menacing nature couldn't have been more subtly communicated. But admittedly, in its simplicity it is entertaining and engaging, but it's not satisfying to be so spoon-fed. The questions it asks are superficial albeit acceptable if this was designed for Britain's smaller screen.

There's not an inch of the frame wasted as they try desperately to make this two-story narrative cinematic. It works, and it's thoroughly attractive, but it's almost too full and vibrant, not reflecting the rough tone that the film should have. Spending money on lights and cranes which are just used for unmotivated movement remove the film of a human grounding that it's begging for. It does offer this reflection of how Kate feels later on as it grows more rugged and desperate, but it doesn't stitch together in a way that really puts you in her head, and by that point it's too late. The scenes feel more like examples of feelings rather than following a strong narrative thread, developing the characters beyond well worn archetypes. The language it uses is based in clichés rather than speaking a compelling voice of its own.

Otherwise it's trying too hard to cover all ground as it shoehorns in a subplot regarding Kate's relationship with her parents. We have a distant mother who's unfathomably selfish and then some kind of connection with her dead father as she for some reason must brave the weather to visit her grave and leave her child in the hands of someone she explicitly doesn't trust. The film often defies logic for the sake of an empty gravitas. It's piling lots of ideas about relationships in social classes and anxieties about motherhood but never really exploring a single theme to a particular result. In fact, its terrifying conclusion ends up being a relieving best case scenario. It'd be unfair to call it a complete mess and its effort isn't wasted. I just expect much better things from well-resourced British cinema that doesn't resort to appealing to the least perceptive people in the room.

6/10

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