The Sonata

This movie will not stimulate your brain nor will it scare you. However, it was very atmospheric and moved at a nice pace. It started off quite good then for some reason, took a nose dive about half way through. The protagonist was also somewhat unlikeable and we never really get to know her in order to like her better. I found myself not really caring what happens to any of the characters. It started off well, but needed more character development and more of a story. The ending was overly simplistic. But I can't say it was boring.

"The Sonata" excels at creating a haunting and immersive atmosphere. The film's gothic setting, complete with a decaying mansion and eerie landscapes, effectively establishes a sense of dread and unease. The cinematography beautifully captures the dark and mysterious ambiance, drawing viewers into its chilling world.

The storyline, revolving around a young violinist who inherits a mansion and discovers her father's sinister compositions, is compelling. The integration of classical music with supernatural elements provides a fresh and intriguing twist on the horror genre. The mysterious sonata and its hidden messages keep the audience engaged and curious about the unfolding mystery.

Freya Tingley, who plays the protagonist, delivers a convincing and emotive performance. Her portrayal of the tormented musician navigating through grief, curiosity, and terror is compelling. Rutger Hauer's role, although limited, adds a significant presence and gravitas to the film, enhancing its overall impact.

The film suffers from uneven pacing, with moments that drag and others that feel rushed. The build-up to key plot revelations can be slow, testing the audience's patience. Conversely, some critical developments occur too abruptly, leaving viewers wishing for a more gradual and fleshed-out progression.

Despite its intriguing premise, some of the plot twists in "The Sonata" are predictable and lack the intended shock value. Horror enthusiasts might find certain elements cliché, as the film occasionally relies on familiar tropes and predictable scares, diminishing the overall tension.

While the lead characters receive adequate attention, several supporting characters are underdeveloped. The motivations and backstories of the characters are not fully explored, leaving the narrative lacking in depth that could have been added. This underdevelopment makes it harder for the audience to form a strong connection with or investment in these characters.

Very reminiscent of old Hammer horror films, with superb locations, quality performances from virtually all of the cast, superb music scoring and a really well orchestrated atmosphere of dread and suspense reminiscent of The Devil Rides Out and it was proceeding so well until the end and the last 10 minutes of the movie just fizzled and burned out like a damp squib.

It had all the ingredients too, including a well paced and original story but what could have been a really great horror-thriller was spoiled by the rushed ending and brief CGI - such a shame but it is still well above average and beats most of the recent horror drivel that has been coming out of the film studios recently so a fair 6.5/10 from me!

Firstly, the cinematography is wonderful, but it looks like it was shot on video, a shame they couldn't have made it more film like, as the video effect makes it look cheap.

The female lead is desperately unlikeable, maybe she's meant to be, but I think making her personality a little more pleasant would have been a good thing.

There is bags of atmosphere here, but the story seems rushed, and at just about 83 minutes running time, it could have been longer and the story fleshed out more.

Also, for anyone considering the German blu ray which has an English soundtrack, well yes it does, but there are three instances of French being spoken, and there are no English subtitles for them, which means you have to switch the German subtitles on, and then use Google translate, unless you speak French of course!

The idea is great, but the execution isn't that brilliant, a bigger budget would definitely have helped here.

Greetings again from the darkness. A throwback to 1970's cinema is easy to appreciate, whether it was intended or nor. Writer-director Andrew Desmond's debut feature film certainly serves up the feel and style of so many of those low-budget horror films I watched as a youngster (many, it seemed, featured the late Roddy McDowall). Mr. Desmond and co-writer Arthur Morin (also his first feature film screenplay) likely viewed some of those same films, as this one succeeds in capturing the same creepy tone.

For some, the music they create comes from their soul ... it makes them who they are. For these musicians, their obsession and quest for perfection can be off-putting to others. In an early sequence, we see young violist Rose Fisher (Freya Tingley, "Once Upon a Time") react to news of her father's death by shrugging and stating she wants to continue with her recording session. See, Rose's father deserted the family when she was a toddler, and the two never spoke again. Richard Marlowe (Rutger Hauer) was an exciting and brilliant young composer when he chose to drop out and live as a recluse (think Salinger). He's even compared to Pink Floyd founding member Syd Barrett. Rose chose to never use her genetics as a springboard to success; never even telling her manager Charles Vernais (Simon Abkarian, CASINO ROYALE) of the connection.

Rose visits Marlowe's house, and before learning of the startling manner in which his life ended, she discovers his final composition locked away in a drawer ... a violin sonata seemingly left for her to find. Neither Rose nor Charles recognize some of the non-musical symbols included on the sheet music, but it's clear there are elements of genius in the piece. While Charles envisions piles of cash to be made by capitalizing on this situation, Rose sets about tracking down clues to the unknown symbols by exploring her father's estate.

It should be noted that Marlowe's "house" is actually the 19th century Cesvaine Palace, and it makes a wonderfully gothic setting for this story. This sub-genre of horror films is always best when the setting is a creepy old mansion/castle, and includes a mysterious housekeeper, other-worldly children, a leather-bound book of secrets, and a subterranean room (this one is beneath a chapel) with curious wall murals telling some forbidden legend of the occult. The only element missing here is vicious dog that pops up periodically.

The symbols lead to a French secret society, and in their own ways, both Rose and Charles learn that finishing Marlowe's final piece will conjure the Anti-Christ. While Charles pursues greed, Rose pursues the music. Spoken words pale in comparison to the music Rose creates. Screen veteran James Faulkner appears as Sir Victor Ferdinand in a vital supporting role. While it's a bit disappointing that the late, great Rutger Hauer has very little screen time, it's quite enjoyable to watch Ms. Tingley carry the lead. Mr. Desmond filmed in Latvia, and delivers a film that fits quite nicely for those who enjoy the creepy throwback horror style.