The Reckoning

I.don't know where the so called critics get their eyes from this was a brilliant movie absolutely loved it great acting good story and a good Friday night movie to share with friends.

I had virtually no idea what I sat down to watch, as I happened to get the opportunity to watch the 2020 movie "The Reckoning". But the movie's cover had some appeal to it, and since I hadn't already seen the movie, of course I managed to find the time to do so.

Well, "The Reckoning" definitely had potential to be something unique and interesting, yet amazingly enough then writers Neil Marshall, Charlotte Kirk and Edward Evers-Swindell managed to produce only a lukewarm script that offered little in terms of a storyline that ensorcelled the audience. Sure, "The Reckoning" is watchable, but it is a very bland and highly forgettable movie.

The storyline in "The Reckoning" was one that had so much to offer, yet the writers failed entirely to seize the material readily available within hands reach and let director Neil Marshall bring something truly worthwhile to the screen. The end result is a very mediocre movie about alleged witchery and plague set during the year of 1665.

Visually, then "The Reckoning" wasn't lacking anything. There were a great many sets, scenes, props and costumes, which definitely helped to build a world set in 1665. But the lack of an interesting and captivating storyline just made it all seem so futile.

The characters in the movie had lots of potential to be grown and nurtured into full-fledged characters with many aspects to them, but again, the writers were just not delivering where it mattered. And this resulted in most of the characters coming off on the screen as being superficial and rather one-dimensional characters.

Now, it should be said that acting in the movie was actually fairly good, especially when taking into consideration the severe limitations imposed on the actors and actresses by a lack of proper script and having half-written characters to work with. It should be mentioned that Charlotte Kirk (playing Grace Haverstock), Sean Pertwee (playing John Moorcroft) and Steven Waddington (playing Squire Pendleton) definitely put on great performances, just a shame it was done within such a mediocre movie.

While I managed to sit through the entire movie, this movie was not one that rang overly entertaining, nor is it a movie that I would recommend you rushing out to get a copy of - because it just wasn't that good. My rating of the movie settles on a very mediocre and bland five out of ten stars.

I truly don't understand the negativity on this film. Everything about it is 70's Hammer horror films! I loved it. It's fun and very gothic. The movie this one is shamelessly patterned after (witchfinder general wirh Vincent price) is essentially the same story only more graphic. Lol! I had fun, I don't care what anyone else says.

Not very impressed with this.

A woman is accused of witchcraft while struggling in the aftermath of her husband committing suicide.

This story, setting and effects need some work. I assume this is a film that had a smaller budget but some of the small things that bugged me didn't seem like they would've been too much of an expense. Let's start with how incredibly clean this supposed plague infested town was. Sure, there were some corpses here and there and there were rats but the streets were clean, the establishments were clean and it just totally lacked realism. Where were the wagon and horse worn, muddy streets? Where was the hay, dirt and come to think of it why were the rats so clean? Why was our main actress's face always impeccable? I'm sorry but I just take issue with these things. On terms of all it lacked in this regard, it seemed more like I was watching a stage play.

The effects were CGI stuff and, well, you could tell it.

I wanted to like this so much more but it just fell really short of being worth a lot of investment. The only thing that makes me give it 3 Stars is the fact that I have seen worse.

(Very mild spoilers in the last paragraph)

"Clumsy" is the first word that comes to mind when describing Neil Marshall's disappointingly unambitious Dark Age drama. In recent years we've been spoiled, perhaps, with well-executed female-led period revenge tales; Jennifer Kent's spellbinding The Nightingale was one of the best films of last year, and Mirrah Foulkes' devilish Judy & Punch quickly became a highlight of 2020. It's hard, then, not to compare The Reckoning to other films in recent memory with such superficial similarities, especially when it pales so thoroughly in comparison.

Grace (Charlotte Kirk) kicks us off by laying to rest her husband who has hanged himself on a tree outside their cottage. We learn, through parallel flashbacks, that he contracted "The Sickness" and took his own life to protect his family from the contagion. This sets off a chain of events that leads to Grace being accused of witchcraft by the town's petulant sheriff (Steven Waddington), who calls in a witch hunter to prosecute her (Sean Pertwee, spending the film twirling not only his own mustache but even the mustaches of those around him). What follows is a series of torture scenes, each more uncomfortably unrestrained than the last, interspersed with Grace's increasingly disturbing nightmares. These dream sequences should be the core of the film, as Grace's visions get more introspective and erotic, imagining her husband's embrace shifting into carnal acts with the devil himself. Instead, just like the torture, they never get more interesting even as they grow more graphic.

Every turn the plot takes is a predictable one. Every character is as stock as they come. Kirk, leading the cast and co-writing the script, delivers a bland performance that rarely conveys the suffering Grace endures. Marshall's direction is just as uninspired, with an inconsistent tone and a wobbly handheld camera that sticks to flat planes and textbook compositions. The production design lacks authenticity and the effects, while bloody, carry neither grit nor weight. Supporting performances are almost universally awful, given no help by the broad, clunky dialogue or their paint-by-numbers characterizations. Even Christopher Drake's sweeping score is overshadowed by the Hans Zimmer soundtracks it so clearly tries to evoke.

By the end of The Reckoning, once it's become clear that there's no deeper meaning to explore, no surprising twist to alleviate the gloom and nothing left to do but wait out the runtime, Grace's final revenge feels like less of a resolution and more of a liberation - as she stumbles, victorious, through a marsh, drenched in blood and dragging a broadsword behind her, the audience is equally free to go rewatch Judy & Punch instead.