What Lies Beneath

Claire and Norman Spencer's marriage starts to fall apart when she believes there is a ghost in the house. Things gather apace when Claire is convinced that the spirit is trying to tell her something. Something that could be too close to home for comfort.

Robert Zemeckis does Hitchcock? Well yes, the influence is obvious, unashamedly so. But the trouble with that, is having the maestro as a benchmark renders all other modern day attempts as folly. However, casting aside that gargantuan issue, What Lies Beneath is an effective creeper come thriller that boasts star credentials.

Directed by Zemeckis, formed from an idea by Steven Spielberg (from the story by Sarah Kernochan) and starring Harrison Ford and Michelle Pfeiffer as the fragmenting Spencer's. That's a pretty tidy bunch from which to launch your movie. What follows is a mixture of genuine unease and mystery, red herrings and standard boo jump moments, all of which almost gets lost on a saggy middle section as Zemeckis plays Hitchcock one too many times and loses sight of the supernatural heart of the piece, not helped by Clark Gregg's meandering script I might add. None the less, the picture gets pulled around for the finale as the spooky combines with thriller to produce some quality edge of the seat stuff. But it's only then that you totally realise that the makers here have tried to cram too much in to one film. In eagerness to manipulate the audience for the fine ending (though you probably will have it worked out at the half way point) the film just ends up as being confused as to what it mostly wanted to be.

Pfeiffer is excellent and looks stunning and Ford gives it gusto when the script allows. Support comes from Diana Scarwid, Joe Morton, Miranda Otto and James Remar. The house is suitably eerie with its waterside setting and Alan Silvestri's score is perfectly in tune with the creepy elements of the piece. It's a fine enough film in its own right, regardless of the Hitchcockian homages. It's just that it should have been a far better horror picture than it turned out to be. 7/10

A good old-fashioned scary movie, avoiding irony and self-referentialism at every turn, this film relies on a nice premise and some well-executed creepy atmosphere for its impact. Pfeiffer and Ford work well together as a middle-aged couple, with Pfeiffer particularly effective as the homey (though obviously ridiculously beautiful) mother left alone when her daughter heads off to college, working herself up into a panic at various, vaguely spooky goings-on around the place. The film plays its cards close to its chest throughout, working the old game of keeping the audience guessing for a good while ? is there really something supernatural going on, is it some kind of creepy but human plot, or is it all in her head? Of course it's all revealed in the end, in a solidly scary, thrilling and well-executed finale. A classic it ain't, but it has a kind of workmanlike, reliable quality oozing out of every scene.

Robert Zemeckis's "What Lies Beneath," released in 2000, is a compelling blend of supernatural horror and suspenseful thriller. Anchored by stellar performances from Michelle Pfeiffer and Harrison Ford, the film delivers an atmospheric, spine-chilling experience despite a few plot contrivances.

"What Lies Beneath" centers on Claire Spencer (Michelle Pfeiffer), who starts experiencing strange occurrences in her Vermont home after her daughter leaves for college. Her husband, Norman (Harrison Ford), dismisses her fears as empty nest syndrome. But as the ghostly encounters escalate, Claire is pulled into a terrifying mystery that reveals shocking secrets about her life and marriage.

Michelle Pfeiffer's performance is the beating heart of the movie. As Claire, she expertly conveys a wide spectrum of emotions - from initial unease to sheer terror, and finally, desperate resolve. Pfeiffer's nuanced portrayal of a woman grappling with inexplicable supernatural events while also questioning her sanity keeps the viewers rooted in the narrative. Harrison Ford, diverging from his typical heroic roles, delivers a surprisingly subdued yet effective performance as the aloof and somewhat dismissive husband.

The film's strengths lie in its masterful build-up of suspense. Zemeckis, known for his work on films like "Back to the Future" and "Forrest Gump," shows a flair for creating an atmosphere of mounting dread. The use of slow, tension-filled sequences, chilling music score, and artful cinematography makes the most of the spooky New England setting, resulting in numerous effective jump scares.

However, "What Lies Beneath" does have its weaknesses. The plot relies heavily on some genre tropes and contrivances, with a few twists that may feel predictable for avid thriller or horror viewers. The pacing is uneven at times, with the film taking a while to get going, and some plot points feel somewhat rushed or underdeveloped.

The supernatural elements and the focus on character-driven tension give "What Lies Beneath" a Hitchcockian feel. However, the narrative doesn't always maintain this subtlety, occasionally veering into more conventional horror territory, especially towards the end.

In conclusion, "What Lies Beneath" is an engaging supernatural thriller that benefits from strong performances and a creepy, suspense-filled atmosphere. Despite some plot and pacing issues, it offers a gripping and occasionally terrifying viewing experience that will appeal to fans of the genre.

Oh man!! What a fun movie! Without giving too much away, it's a ghost movie. The plot wasn't anything to write home about, it's been done about 100 times before, but it was just done better than it has been in recent memory. Seems that movies try to over-do everything lately with special effects, gore, music and violence. Not here... I kept thinking that they had taken a step back and returned to what makes movies spooky. It's not a computer generated demon, or a high intensity soundtrack; it's a creaky door, it's a reflection in the glass, it's that feeling when you know you just pushed that chair in a minute ago and now it's away from the table again. That's what makes people uneasy, that's what makes them check their closets and sleep with the hall light on when they go home.

The most notable difference in the movie was the silence. I'd guess that about 50% of the movie was completely silent except for breathing, footsteps, creaking doors... wonderful. Seems that lately the powers-that-be just have to fit every second of the soundtrack into the movie (seems they should since now-a-days there's commercials for the soundtrack separate from the movie in many cases) in order to boost the spooky level... it rarely works. The silence in the movie just added to that tension in your shoulders and made you slowly edge up on your seat.

If I had to pick anything to complain about, it'd be the weak foreshadowing of two events, I don't want to give anything away, but you'll know when you see it. It's like they gave up on trying to write them into the plot. They may as well have put a subtitle on the screen (or a "Pop Up Video" bubble) that told you that what they were saying was important. For my wife and I, it gave a bit away about how the movie was likely to end.

Michelle Pfeiffer was really good, I'd guess she was in almost every single shot in the film, so anything but a great performance would have shown. I'm not normally one to judge actors performances, but there's some credit to be given to someone who can act that scared using only her eyes. I wouldn't be surprised if she gets a nod at the academy for this one.

This is the most suspenseful thriller I have seen in the past year. As a refreshing change to more formulaic chillers, WLB takes its time to build the suspense. It is allowed to do this by virtue of Harrison Ford, and, especially, Michelle Pfeiffer, who, I feel, deserved an Oscar nomination for her convincing portrayal of a happy, but suddenly lonely, wife. It is just about as Hitchcockian as you can get, and I rate the bath sequence as gripping (pardon the pun) as taking a shower at the Bates Motel. The plot is thin and the action is played out sedately. Yet it seems perfectly timed in setting the mood of the whole piece. I particularly liked the music,and the supporting actress Diana Scarwid, whose lighthearted attitude during the seance scene made it all the more chilling. A perfect example of good film-making with only a slight plot. I am sure this movie will mature with age until it is rightfully regarded as a modern classic. Count the number of times you jump!