Soulmate

Audrey (Anna Walton) is a recent, young widow who is plagued by the premature death of her husband. She attempts suicide to escape her pain, but her failure leads her to an even deeper depression. She escapes to a remote cottage in the Wales countryside to be in solitude and to work on her music once again. Audrey soon hears noises coming from a locked room in the cottage, only to eventually learn that it is haunted by the previous owner, Douglas Talbot (Tom Wisdom). Axelle creates suspense, both with the accompanying music score and with the camera. However, the jump-in-your-seat shocks happen when you least expect them! I admit, I flinched several times and on one occasion, actually let out a quick scream, much to my embarrassment. Instead of running away from her ghostly house mate, Audrey befriends him, much to his amazement. Their friendship develops beautifully; each one helping the other cope with the torments of their past. There is a love for one another, one much deeper than the other, though.

Anna is superb as Audrey; you feel her pain along with her, often with a knot in your stomach as she tries to make it through each day. As her tension relaxes with her new supernatural friend, you experience the warm, fuzzy feelings during their unique moments of camaraderie. Simple gestures, such as playing chess together (as Douglas struggles to move the pieces to the desired space with his energy), leaves you with a sweet smile. And when Audrey feels terror, you feel it with her.

This film is unlike any you have seen Tom Wisdom in before; his true acting colors shine through in his portrayal of Douglas. Tormented from his past, he has struggled for thirty years in loneliness as no one has ever been able to see or hear him until Audrey came along. As Audrey asks him personal questions, his silent stares make you uncomfortable, which is precisely what he was aiming for. From his sweet, gentle demeanor to his explosive anger, Tom flexes his acting chops in the film. You adore him and are completely terrified of him all in two hours. His deathly makeup only adds to the character, making him completely believable as a long-dead man.

I always enjoy twists at the end of films that I didn't see coming, which Axelle delivers perfectly. An ending that one doesn't anticipate in the least, I actually heard some quiet gasps in the audience around me (myself included). The film was dark, Gothic, hauntingly romantic, and in a word, fantastic.

Written and Directed by Axelle Carolyn, Soulmate is an absolute gem of a film, shot with pretty much a handful of cast members (including Anubis the dog, shes awesome), the film is an excellent piece of work for Axelle's feature debut (she has directed several short films previous to this).

Soulmate has beautiful cinematography (by Sara Deane) set in stunning locations (Powys in Wales), the film has an excellent stage play feel to it, and if it hasn't already begun to appeal to those who love theatre, it should. 'Soulmate' would work brilliantly on stage. Heres hoping Axelle decides to adapt it for the boards at some point.

But lets get back to the film. Whereas most 'haunted house' films are set to large set pieces and furniture flying all over the place, people screaming and running from buildings that collapse. 'Soulmate' is pure character based storytelling, focusing on Audrey (Anna Walton) and her obsession with learning more about Talbot Cottage and its history.

Whilst the performance of the film pretty much sits on the shoulders of Anna Walton, the supporting cast also do a wonderful job with their roles.

The minimal cast of Tom Wisdom (300, The Boat That Rocked), Tanya Myers (Oranges and Sunshine, Control) and Nick Brimble (Robin Hood:Prince of Thieves, 7Lives), and Anubis the dog in her feature film debut all propelling the story towards its conclusion.

Whilst I don't like to focus on gender, it is worth noting (isnt it?) that its fantastic and very well earned to see so many main roles in this film occupied by women. Writer/Director, Cinematographer, Art Direction, Costume designer, Make up department, and many many more.

Would the film have been different had it been male orientated? (different perhaps, better, I highly doubt it) Who knows. But I know that Soulmate is a fantastic project, with the perfect casting, from a great story, wonderfully acted and put together. It doesn't need action set pieces, it doesn't need buckets of gore or jump scares, and doesn't need a third act set of craziness. Things that so often fill creepy films nowadays.

For those who love creepy house movies, perhaps you are a Hammer film fan. Did you love The Others or The Woman In Black? But you know what. If you just love good films, with good stories. Then you need to check out Soulmate which is out on DVD on August 11th 2014. Or perhaps you love the classic films. I was reminded to a certain extent of a film that came out in the 40s, but I didn't see until the late 80s. That film. The Ghost and Mrs Muir where the story also wasn't a poltergeist movie but was in fact a film about people (and spirits). If you haven't seen The Ghost and Mrs Muir. Track it down.

Its also worth noting that on the Soulmate DVD there are some great special features including interviews with some of the people behind the film (Axelle Carolyn, Neil Marshall and Anna Walton)

First of all, I hope Anna Walton goes far, she's a very good actress. She reminds me a lot of Kate Beckinsale and Rhona Mitra. She was easily the best part of the film, and great to watch. She conveyed a very solemn character in the movie, and her emotions were well done.

Parts of the movie, specifically the build-up of the relationship between Audrey and Douglas was kind of reminiscent of "The Ghost and Mrs. Muir," but trust me, it ends much differently. Theresa's confession towards the end was unexpected, and it was a nice twist.

It was low-budget, but they made good use of the money by setting the story in a very small town on the English countryside. I really loved the somewhat gloomy atmosphere. This is not a typical storyline as far as ghost stories go, but it was kind of original, and I'd recommend it. This is why I love indie film makers; some of the most original ideas are done by them, whereas Hollywood big studios like to play it safer by making prequels, sequels, and remakes.

I will say that they could have made the movie about 20 minutes shorter. I know they were building up the relationship, but some of it was plainly over kill. I did have a problem when Audrey initially met Douglas about 38 minutes into the film. He told her that he couldn't touch her. By proving it, he swiped his hand against a lamp, and his hand when right through it. However, he was sitting on a chair. Would he be able to be sitting? Wouldn't his body fall through it? lol. Also, never write the end credits in cursive. It was really hard to read who played which characters. I know, sorry for nitpicking.

I gave this a 6-star rating because of the originality, script, acting, and atmosphere. Also, as I said, I liked Teresa's twist at the end.

To be honest, Soulmate is a semi-decent film, in an escapist-fantasy-about-vulnerable-woman-who-meets- unattainable-man sort of way, but what it's not by any stretch of the imagination, is a horror film. And it's this fact that kind of makes it a victim of its own construction; the slow build of the first third (which is both effectively creepy and unsettling) ends up working against the film by setting a tone that the leads the big "reveal" and it's fallout to seem utterly silly and laughable. It's literally like Emily Bronte started a ghost story, and then it was picked up and finished by an aspiring self published YA author who's done too much Twilight fan fiction. What starts with one set of audience promises, just dives into a Gothic soap opera which aside from being a crippling disappointment, I found impossible to take seriously. If the film had launched straight in with the "reveal" (which it could easily have done without losing anything in terms of the narrative), I think it would have set a bar it could have sustained and been a reasonably engaging fantasy drama. As it stands, though it's just a very disjointed and untraditional ghost story that pulls in two directions and doesn't really succeed in getting anywhere in either.

The market's been saturated a bit lately with ghostly goings on in the wake of successful movies such as The Conjuring, Sinister and Insidious – which makes it that much more difficult to come up with something fresh and engaging. But this debut feature from writer-director Axelle Carolyn gives us exactly that, a story with a real emotional core but no shortage of scary moments.

Recently widowed musician Audrey (Hellboy 2's Anna Walton delivering a standout turn) retreats to an isolated Welsh cottage to recover after a failed suicide attempt. Once there, she discovers things going bump in the night and starts to see disturbing visions of her late husband. But the ghost, when it reveals itself, turns out to be that of a former owner – Douglas (Tom Wisdom from the TV series Dominion) – whose suicide bid was anything but a failure.

Wondering if she's going mad or just suffering from the side effects of her strong depression medication, Audrey tries to learn more about Douglas from local couple Theresa (Casualty's Tanya Myers) and her husband (the always wonderful Nick Brimble from Robin Hood: Prince of Thieves). After being warned against digging too deep, Audrey is left confused as to whether the spirit is friend or foe. Has she found 'someone' who might be able to understand her predicament, the fact she blames herself for what happened, or a shade that has problems of its own? Only time will tell...

In the interviews section of the extras, Carolyn freely admits that she was trying to make a traditional British supernatural movie, a Ghost and Mrs. Muir for this generation but with a darker tone. What she has accomplished is so much more, something that works on a variety of levels. It's a tale about loss, sure, but also about relationships and finding – or rediscovering – oneself after a major life (or death) event. The performances are universally excellent, helping with the suspension of disbelief, but the film is also beautifully shot, belying its low budget origins and simultaneously making the most of the atmospheric Brecon Beacons where it was shot. There are more than enough shocks, surprises and twists to satisfy your average genre fan, but at its heart this is a thought-provoking drama full of character studies and insight.

Other extras include interviews with Walton and Neil Marshall (Carolyn's husband, but also editor and exec producer on the movie), plus a couple of previous shorts she wrote and directed: the heart-warming Halloween Kid and The Last Post, which is by turns unsettling and poignant (the ending will have you welling up). I really can't recommend this one highly enough, and after such a stunning first movie I have to wonder what delights are coming in the future.