Presence

I want to preface this by saying I thought Presence was a good movie. The acting, camera work, storytelling - all hit the mark for me.

That being said, I wouldn't classify this as a horror film, and I didn't find it scary at all. Suspenseful? Sure, at times. However, the "twist" was relatively easy to catch on to pretty early in the film, and figuring that out sort of detracts from the experience.

I would categorize this film as more of a family drama, with an interesting and unique take on the classic ghost stories of the past. If you're looking for a film to truly scare you, this one isn't it. Almost all of the ghostly happenings are shown in the trailer as well, which was disappointing.

I saw this at a secret screening, which is where you don't know what the movie is going to be.

The movie takes a while to get into anything. You're watching the family settle to their new home which, with movies like paranormal, didn't seem boring. Unfortunately in the case of this movie, the script and subsequent acting from some individuals made it hard to get into/ watch at some points.

During the climax of the movie, the monologue from a certain character (it will make sense what I'm saying when you watch it, I just don't want to spoil anything) was a hard watch. It felt like a school drama performance. This is probably due to a poor script and acting.

The movie as a whole is fine, I wouldn't pay to see it in the cinema, I recomend waiting for it to come out on a streaming service.

I'd seen the trailers and was excited to see the film on its release . So last week we saw a secret screening/preview of it at our local cinema . Filmed from the side of the ghost/spirit and based on an empty lovely house a family of four move into. The house itself is lovely and the filming is brilliant but I have to be honest myself and mr husband were really disappointed. Lots of filming that were irrelevant. Some scenes were good and some secretive . But In my honest opinion after watching the trailer I was so disappointed with the film. The end five minutes are good and sad . But overall not as good as we hoped.

While I appreciate Soderburgh trying something new, there were way too many missed opportunities to make this movie feel anything other than gimmicky. Don't get me wrong, it was a good attempt at a ghost story but the tone of the movie got tripped up on adding too many distracting elements. It seemed more experimental than anything else; the characters felt forced (especially the parents), the foreshadowing was over the top, and the last ten minutes undid any possible horror that I originally hoped I would find. Definitely walked away feeling disappointed but only because the events leading up to it left too many open ended questions. (One of the biggest being why they would leave their children in an obviously haunted house (this is not a spoiler, it's literally the title of the movie) and then say "make good decisions." Dumb.)

Throughout his career, Steven Soderbergh has dabbled in many different genres, to varying degrees of success. Take a glance at his filmography, and you'll see thrillers, dramas, comedies- an eclectic mixture of movies. From the tantalizing intrigue of 'Sex, Lies, and Videotape,' to the silly hijinks of the 'Ocean's Eleven' movies and the brilliant biopic 'Behind the Candelabra,' Soderbergh refuses to be pigeonholed. Although sometimes he faulters- 'Full Frontal' didn't really work and 'The Laundromat' was exceedingly underwhelming- generally his films are worth a watch.

His newest, 'Presence,' is not. Billed as a psychological horror, the film follows the Payne family's move to a new home. From the outset, there are cracks in their individual relationships, which become heightened when the daughter, Chloe, starts feeling a presence within the building. Is the mysterious entity a mischievous ghost, is Chloe suffering from some kind of mental illness, or is something completely different afoot?

David Koepp wrote the screenplay, and, in fairness, he eschews many of the traditional tropes found within haunted house flicks. However, he also avoids anything remotely thrilling, profound or engaging. It is less horror and more teen drama, and a slow-moving one at that, with caricatures instead of characters as well as dialogue that sounds like bad improv. Further, proceedings come to a halt so abruptly it makes one feel that he lost the pages for his original ending, deciding to make one up on the spot.

As an aside, there is a serious problem regarding the film's marketing. Watch the trailers, and you see ads for a horror movie. You are promised it will "terrify" and is "frightening." You are not told it is about as frightening as a tortoise chasing a snail, and somehow not as fast-paced. The trailers are deliberately misleading, which can only lead to disappointment. (Anecdotally, during the screening this reviewer attended, two people walked out after the first twenty-five minutes, while a young woman loudly denounced Soderbergh for lying during the end credits, claiming she was more scared when she looked in a mirror).

The film does not deliver what it said on the tin. It is a melodrama, essentially, with a ghost thrown in for a bit of flavour. Despite that, there are some interesting moments and canny observations. The portrayal of the mother's complex relationships with her two children rings true, capturing the nuances of family dynamics with authenticity. Similarly, her strained interactions with the father provide a poignant look into the cracks that form in a marriage under pressure.

In addition, Soderbergh's cinematography is striking. Each scene is captured in a single, unbroken take, immersing the audience in a continuous flow of tension and unease. This technique cleverly blurs the line between observer and participant, making the audience feel as if they themselves are the Presence, silently witnessing the unravelling of the Payne family's life like some kind of ghostly voyeur.

However, the scene transitions are jarring, each capped off with a cut to black that feels like the work of a film-student who hasn't got the hang of editing. This feels disjointed and less polished than one would expect from a director of Soderburgh's calibre. In addition, the pacing is laboriously slow, meaning the film suffers from a dearth of momentum or drive. At 84 minutes, it is a short film; Soderberg's editing makes it drag.

Conversely, April Lasky's minimalist production design deserves mention. She and her team have meticulously crafted the Payne family's new home to be both inviting and subtly disquieting. The house itself feels lived-in, cluttered bedrooms full of personal touches giving it an air of authenticity. Imogen Lee's set decoration, from the furniture to the family photos on the walls, helps ground the story in a palpable reality. Furthermore, Zack Ryan's muted score is quite brilliant, subtly creating an eerie sense of dread (that Koepp's narrative sorely lacks) drifting throughout the film like a malign wind.

Moreover, Lucy Liu delivers a compelling portrayal of the mother, grappling with her strained relationships and the growing tension within the family. Her nuanced performance captures the emotional turmoil and complexity of her character, bringing an authenticity that grounds the story amidst the supernatural elements. Chris Sullivan is similarly strong as the father, bringing to life his insecurities with ease. He creates a character that feels well-rounded, despite Koepp's limited characterisation.

On the other hand, as Chloe, Callina Liang comes across as a bit wooden, lacking the emotional range to fully engage the audience. Although by no means terrible, Liang's overall performance feels flat and she fails to elevate the character into someone compelling. Eddy Maday's work as her brother is similarly unexceptional. Further, West Mulholland is insidiously smug and one-note as Ryan, an acquaintance of Chloe's. He isn't given much of a chance, though, lumbered with the most awkward lines in the film; which he recites unconvincingly, as if he were in a bad school-play he didn't fully understand.

In conclusion, Steven Soderbergh's 'Presence' is far away from his best work. Although there are some notable elements, such as striking cinematography and strong performances from Lucy Liu and Chris Sullivan, the film ultimately fails to deliver on its promise of psychological horror. David Koepp's screenplay lacks both thrills and depth, resulting in a slow-moving teen melodrama with caricatures instead of compelling characters. In short, despite a few praise-worthy elements, 'Presence' doesn't leave much of an impression.