Opiniones de usuarios

Off putting title. But what else could it have been called? Twelve Sisters?

On paper this sounds pretty cool. The themes and the concept have a lot of potential. I must say, stylistically I have sort of always wanted to watch this kind of movie ever since I was a youth. You know, that kind of movie filled with distinctive imagery, in which it feels more like a very long music video and only grudgingly takes a break from that so it can get back to the script.

The problem with this movie is pretty simple. Everything about it is de trop. Every element of it on the micro and macro level is just kind of excessive. By all means, really go for it in terms of cinematic panache but like I said, execution is important and this movie does not walk that fine line between chilling and goofy. It fell off a long time ago.

I want to like the story that its telling. A story of womanhood, of two characters separated by so much finding a sense of sorority, of identifying with past people but it's poorly thought through.

I get that she's an ageing former movie idol, groomed to be a masculine person's vision of feminine beauty but has now outstayed her welcome. Beginning the movie with a double mastectomy is a symbolism we can all get.

That's the other problem: while nearly every moment in its script or its visualization is a bit too much, the one exception is the most important thing: the story. I feel like I don't really know this woman. I have guessed that she's some kind of famous actor that's now going through a dark place but that's all informed attributes. They leave stuff to the imagination only when it's stuff that might have fleshed out this walking cliche, this modern Baby Jane.

Maybe it's my fault for assuming this movie was a horror movie and not simply a piece of nuanced emotional storytelling but they do not hold their cards to their chest and let the mysteriousness build. It's more Harry Potter than Silent Hill. The dialogue and actions of the people around all fit so neatly into the prescribed themes (you know, misogyny) that this film felt over all quite mechanical.

They just did not invest in the elements that would have made this an enriching emotional journey.

At one point a character remarks "creepy" which no horror character should ever do. I was almost glad someone challenged her but I was not rooting against her.

Throughout watching this movie I kept thinking of the pretty swell Post-Rock group "Maybeshewill".

I'm an old lady. I teethed on Brecht, MacLeish and Albee. I came of age on the smoky balconies of 'foreign film' theaters. My husband declares, "if it's weird, you'll watch it." Little annoys me more than watching a film by a director who gets in the way of their own art - like She Wills.

The film has a very good folk horror story, finely crafted performances and an intriguing point of view, but it's thin on characterization and director Colbert's repetitively obscure ( almost navel gazing) storytelling style often leaves the audience in the cold.

Like most people, I either like a film or I don't. I can't recall ever seeing a film that left me longing to be engaged.

Greetings again from the darkness. Coming from the IFC Midnight stable, this first feature film from writer-director Charlotte Colbert and co-writer Kitty Percy, may be judged as a thriller or horror, depending on one's perspective. By creating an ominous atmosphere, the movie highlights how certain events can grab hold and remain with us, often buried deeply, for our entire life. We don't always know how these memories will manifest or how or when we deal with them, but if the scars remain, a reckoning likely follows.

Alice Krige is perfectly cast as Veronica, an aging movie star. She's coming off a double mastectomy and is expressing more than a touch of grumpiness towards her much younger nurse Desi, played well by relative newcomer Kota Eberhardt. Veronica has booked an extended stay for rehabilitation at an isolated countryside manor, and though she and Desi have a private cabin on the grounds, Veronica is quite miffed that there are other guests in the main house ... with odd therapy sessions led by Tirador (played by an almost unrecognizable Rupert Everett).

Almost immediately, strange things begin to occur and much of it is related to the earth and ground. The mud seems to have supernatural effects on Veronica's visions and dreams. This is explained as healing power due to the heavy presence of ashes from witches burned at the stake many years prior. The memories of a traumatic event return to Veronica. She was a child actor in a film by the legendary Hathbourne (the always great Malcolm McDowell), and now he is re-casting for a remake of that film. So as Veronica faces her perceived loss of femininity at the edge of scalpel, she's also dealing with fears of aging as the same filmmaker recreates a project she is now too old for.

Symbolism is entrenched in the film, and the approach to Veronica's revenge on Hathbourne is handled through mysticism that can't easily be explained ... though it's a welcome new approach to the #metoo movement. One of my favorite aspects of the film is how the initial gulf between Veronica and Desi gradually changes as the two generations of women bond over their strength. Italian 'Master of Horror' Dario Argento is a producer on the film, and though we don't know what input he had, it's quite a compliment to Ms. Colbert to state her debut film deserves to be mentioned alongside his.

First off, I must say that the cinematography is absolutely stunning and the acting was great. What made the film worth watching however, was Clint Mansell's score. A masterpiece.

There's basically no real dialogue in the film. It's 98% imagery, i didn't mind at first, but halfway through it became so redundant and exhausting to watch a film with no conversations. This uber-Indie, "i'm so alternative" avant-garde nonsense became unspeakably annoying. The whole film is just a collection of vivid dreams and paranoias, with one or two words thrown in.

Also, easily one of the most abrupt, "what just happened here?" kind of endings.

I only finished watching it because i loved the music. I'm quite disappointed. I really wanted to love it, but it was 100% just beautifully boring.

My recommendation? Skip the movie and just listen to the soundtrack.

I knew pretty much nothing about Charlotte Colbert's "She Will" when I started watching it, making it more interesting. This story of a faded actress who seeks treatment in a facility located on the former site of burning women accused of witchcraft has some intense scenes. The intensity is mostly found in the actress's disturbing memories. In that sense, I guess that the movie's saying that the worst horrors are the real ones.

While not anything great, this movie is more interesting than movies where people walk into rooms to get butchered. On top of that, it gives us some great shots of the Scottish countryside. Worth seeing for that, if nothing else.

'She Will' does the basic revenge plot in the evil men setting that is popular these days.

It was only 95 minutes, with around 30 of those just being beautiful nature shots with good music, yet it still felt like slow motion finalized by an abrupt ending.

Only Krige's character was significant, with everyone else just being vague plot devices. There was barely any character essence besides purely evil men and a couple of victims to show how bad all men are.

I enjoyed the cinematography, the music, and some themes of harmony with nature. If not for Krige, this would've been a disaster since she was able to handle those vague thematic sequences.

The film had nothing else to offer: no character deep dives, barely any dialogue, and thus - no emotional connection.

All that matters is those evil men get what they deserve. Everything else (the more interesting parts) doesn't really matter. Why cultivate the relationship between the two heroines, add variety to the film, and create a ground for discussion and emotional engagement? We don't need that. Why not write a good story? I'd love to invest emotionally into a revenge story. They had grounds for an interesting dive into the lead's psyche but did nothing with that.

I don't think I can recommend this film since it never goes beyond prepackaged stereotypes. The tags are also messy: comedy, drama, horror? There was indeed no comedy and no horror.

Charlotte Colbert's directorial debut, "She Will," is a visually arresting and emotionally potent exploration of feminine trauma and its lingering power. Alice Krige stars as Veronica Ghent, an aging actress wrestling with the aftermath of surgery and the fading grip on a youthful image once central to her stardom. Seeking convalescence in the Scottish Highlands with her young caretaker Desi (Kota Eberhardt), Veronica soon confronts the dark energies bound to the land's tragic past.

The film truly excels in its cinematography. Landscapes take on a near-mythic quality, echoing Veronica's own wounded internal state. Krige's performance is utterly captivating-a masterclass in portraying simmering resentment, quiet vulnerability, and an eventual resurgence of power born from pain. This stands in intentional contrast to Eberhardt's Desi, a symbol of youthful vitality and an initially dissonant note in Veronica's self-imposed world of isolation.

While "She Will" stumbles somewhat in maintaining a consistent tone as it shifts between introspective character study and revenge fantasy, it nonetheless carries a strong thematic depth. The film boldly investigates how society exploits female pain-both past and present. Its use of mysticism and subtle horror elements offers a unique angle for unpacking themes of vengeance and female power.

"She Will" may not be a traditional horror film, but it possesses a haunting undercurrent. Visually rich and anchored by a powerhouse performance from Alice Krige, it's a thought-provoking film with more impact lingering beneath the surface.

The difficulty in writing and directing such a metaphorical, artful story such as this is that it becomes very easy to veer into pretentious and inaccessible territory.

There are times in She Will when this does happen, and the logical rules of the story and the feelings of the characters are often unclear. But thankfully, the film never stays in this territory for too long.

What keeps this tale investing is the quiet, mysterious performances, the odd yet entrancing visual effects/cinematography, and the satisfying pace at which the curtain is pulled back and the audience gets answers to their questions.

At times the metaphors are too heavy-handed to the point that it's a disservice to the characters, but most of the time it was refreshing to see subtle nuances in a movie like this that has a clear feminist message.

Certainly this isn't a film for everyone, but for those who like thought-provoking art, there's quite a bit of good to be found here.

This dull movie fails to deliver any chills or any story, really. We get to see the main character wander into the woods during dream sequences that grow tired by the third time we see them. All this leads to an ending that dives into overly-artsy fartsy territory. Not worth the time.

As usual, a lot of the reviews here will tell more about the reviewers than they will about the movie...'slow...boring...all about evil men...seen this (too) many times in the last few years'.

It is slow if you want freddy kruger or jason. But it's not that kind of horror movie...in fact, i recently mentioned in a letter to a friend that there should be a 'supernatural' category, rather than 'horror' because that would warn the zombie lovers that it's not that kind of movie and save them the frustration of watching and me the frustration of reading their usual type of review... it's mostly a visually stimulating movie...producing just the right mood for the story which seems only to be brought out in a few places...but, for me, it was very satisfying...a feast for the eyes.

Krige, as usual, does well in this film...as do all the other players whom, mostly, seem peripheral to the small story at the core.

Not horror as much as supernatural and not for the red bull guzzling kids.

To be fair, I only watched this for Alice Krieg and her wonderful hair. Thought provoking, subtle horror. Reminded me of a beautiful Enya video. Very cinematic, ambiguous and vague. Featuring sublime Malcolm Mcdowell, blink and you'll miss him Rupert Everett.

I am not sure what this film is trying to do but it fails miserably. Script is terrible, overall story is disjointed and doesn't have any real substance. Some of the acing is questionable too - not great casting! I have to admit that I don't turn films off and I didn't with this one but I have to admit to being very close. However stuck it out until the end and it didn't get any better!! Without any spoilers - I am guessing the premise of the film is that the lead is trying to overcome her surgery but also tackle earlier issues in her life and her visit to the Highlands helps her when she feels an association with the land there. However it fails to deliver and leaves you wishing something would happen but it doesn't! One to avoid I would say.

They've gone for slow burn, creepy, witch infested, revenge horror and come out with pretentious, boring, wokefest were men who roll their eyes at the mention of the patriarchy have their hands burst into flame.

It's drivel, a waste of any filmgoers time but probably a must for young film students.

Being that I was a big fan of both movies, this movie to me was a really good one. Acting is on point. IFC midnight doesn't always impress me but when it does it does. At one point the movie went psychedelic and I'm not a fan of psychedelic but it was brief enough for me to be able to tolerate it. Almost as if the director knew if he pushed it too far he would completely destroy the plot and production. He showed great restraint in completely ruining it. Altogether it was a good movie that stuck to the script and ended up delivering. Give it a watch.

I was exited at the beginning then suddenly, everything gets boring. I tried to keep up with the movie yet, it was very difficult to keep up since there's no actual story and everything is simply messed up. I literally regret every penny I've spent on my ticket!

A touching story that visits a frequent subject with an imaginative approach .Great performances by the two lead actresses. Usage and arrangement of visuals and the special effects were the keys for the success of this story. There were characters in background that weren't really introduced to play an actual part for the story and that generated some sense of incompleteness. However emotional story and genuine performances make it a very reasonable watch. Story's social commentary on injustice is provocative and excellent. And the story being based around trauma reveals how wildest retreats are needed for some long unhealed cuts and bruises.

The cast and crew seem utterly bewildered and unable to preform under such GSCE level writing and directing. The narrative desperately fumbles around in the forest searching for its purpose with only painful results for the audience.

I'm bewildered by how bad this was. Rented it and was 100% in for giving it a chance. It was like being beat over the head with an invisible hammer. I can tell they're trying to make a point.. but I just don't feel it.

Contemplative film of paranoia expertly led by Alice Krige and Kota Eberhardt. Upon illness and surgery, the famous actress (Krige) seeks isolation in a retreat. Upon arriving, the site is occupied by some group (cult?) seemingly led by a figure, comic but serious, and their actions seem innocuous, but the film casts doubt in mysterious scenes. The actress starts dreaming or hallucinating with aspects of these falling into reality. Upon further plotting, there is backstory that suggests some unspoken act that is beginning to be heard, with the actress at the center. The director Charlotte Colbert keeps the presentation just vague enough through the surrealistic elements and scenes so that when the denouement arrives, the story feels complete inside the film with progression afterward possible for the characters. The subtle elements as well allow for the resolution without a hammer strike.

If only I had all the thumbs in the world to show how much I loathe this "film". I wish films could just be fun again without pandering to whatever political, ideological soup du jour is currently on menu. Gets old and makes movies incredibly tedious and self-aggrandizing.

Pretentious twaddle about arthouse witches who mumble their way through a gender studies essay in lieu of a script.

The acting is somehow hammy and lifeless at the same time. Dialogue is overwritten and contorted beyond human recognition. Character development is absent. Themes are trite and cliche. Sound design is terrible (I had to mute the first ten minutes and watch subtitles due to the constant overloud drone of a train). Cinematography is stagey and oversaturated.

The costumes are nice. That's about it. It comes off like a smug theatre director having a go at making a horror movie because they think it'll be easy money. Judging by the fawning mainstream reviews I've read, it kinda worked.

I hope the director gets over herself and aims for entertainment rather than chin-rubs with her next project. If you liked the Suspiria remake, you might like this. It's the same kind of try-hard claptrap, only more boring.