A Chave Mestra

A young woman takes a job caring for a stroke victim in his creepy, dilapidated home in New Orleans. She begins to get suspicious that something more is at play. Stars Kate Hudson.

I love the plot and also the location and it's quite creepy. It's not brilliantly put together somehow but overall it's a decent supernatural thriller (more than a horror) and worth a watch.

Films that address themes related to black magic, witchcraft, voodoo practices and other beliefs and religions of Afro origins are usually fertile fields for cinema, as they arouse a natural curiosity and even feelings of fear regarding the meaning of each belief. The movie The Skeleton Key, 2004 uses hudu, a lesser-known belief, to tell a good story of mystery, superstition and fear. Despite having some flaws, The Skeleton Key deserves to be watched for having a well-kept production, competent cast and a daring ending. The film tells a story set in the same bizarre universe and full of superstitions seen in the exceptional Satanic Heart, directed by Alan Parker in 1987 - and, although it doesn't quite reach that film, it manages to establish a correct atmosphere of strangeness by confronting the rational mentality of its protagonist with the extravagance of the black magic beliefs of the other characters. And the mere fact of being able to make the viewer remember Angel Heart (1987) already gives important points to the film.

The film tells the story of young nurse Caroline Ellis (Kate Hudson, from Almost Famous, 2000), who, through a newspaper ad, takes care of an invalid man named Ben Devereaux (John Hurt, from Alien, 1979), who lives with wife Violet (Gena Rowlands, from Taking Lives, 2004) in a detached 18th-century house on the outskirts of New Orleans. The region is famous for the amount of mystical ceremonies performed there since the colonization period, but Caroline doesn't believe in these beliefs. The huge house has several rooms and a master key that unlocks all the rooms, except for a door hidden behind furniture located in the attic, where Ben had suffered a stroke that left him paralyzed weeks before. Moved by curiosity, Caroline does not take long to open such a door, then getting involved in a curse that seems to plague much more than the place and its inhabitants.

Despite the ad campaign trying to sell it as a horror movie, The Skeleton Key is not tense or frightening. In fact, its occasional supernatural elements don't even take on particularly grim characteristics, as the script sees voodoo (or, for that matter, 'hoodoo') as something almost prosaic, used - or, at the very least, known - by virtually every local. That strange region. So, instead of investing in fear, the film opts for an atmosphere of restlessness, employing a dark photograph and unexpected shots, such as plongées (camera pointing vertically downwards) on Caroline and traveling along just her feet, as if the girl were being constantly watched and followed.

The film's art direction is also quite effective, creating a house that really is capable of causing fear. Old, dark and full of rooms. It even resembles the dwelling of the great The Others (The Others, 2003), but on a smaller scale and without appearing to be a copy. The swamps around the city of New Orleans also help to create this macabre setting, and the region itself is known for having a great tradition in cults involving rituals of religions and beliefs of African origin. At the beginning, the camera walks around the house and through well-dosed movements, it presents us with enough iconography to understand the characters' conflicts, as well as suggesting things in the extra-field context that we will only see in scenes closer to the final act. Leaving the urban area and blending in with the rural environment is one of the ways used by the film to better hide the exploits of the "invaders of bodies". The film does not actually "desecrate" the rituals arising from the practice of voodoo and hodu, being concerned only with showing the issue and using the material as an element to coax the action.

Directed and produced by Englishman Iain Softley (Backbeat, 1994), the film deserves to be checked out as it manages to capture attention through a well-developed and non-linear suspense. As the action unfolds, new elements are presented with the intention of deciphering or confusing the plot. The script, signed by Ehren Kruger (from Scream 3, 2000 and also responsible for the american version of The Ring, 2002) has interesting twists in addition to working positively with the time factor, showing some scenes using flashbacks. The characters in The Skeleton Keyare well built, the events do not require explanations with so many unbelievable twists and the ending is, as we have seen little in horror movies, surprising. There is no infamous search for a sequel and that's what makes the film a successful narrative. Unlike easy scares, this film is more interested in developing a good argumentation on the themes of faith, courage, evil and contact with the unknown.

Ingeniously conducted, the film grabs attention from start to finish. Especially when we realize a mystery that bothers Caroline when she notices that Violet has imposed strange rules, for example, mirrors are prohibited in the house, and Caroline finds several in the attic. The movie gives you a tense and terrifying atmosphere when we notice that strange house, and Ben showing fear of his wife, even he tries to escape from there, but without being able to say anything. Caroline, in turn, is convinced that Violet mistreats Ben, and plans to save him. What she doesn't know is that she's there for a purpose. Tension and suspense predominate in the final minutes, and when we least expect it together with the protagonist, we find ourselves embarrassed by a devastating ending.

Adopting a firm posture, quite different from the usual girls of the genre, Kate Hudson embodies Caroline as a brave and intelligent young woman who doesn't usually scream whenever she is surprised by something or someone - which is already a relief for all who are tired of the hysterical screams of the disciples of Jamie Lee Curtis (in fact, in this respect, Hudson's approach is close to that adopted by Jennifer Connelly in the superior Dark Water). Deeply skeptical, Caroline doesn't easily accept the fantastic explanations given to her - and, above all, The Skeleton Key is mainly concerned with following the protagonist's trajectory towards acceptance of the supernatural, which is nonetheless interesting. Meanwhile, the supporting cast plays its part: John Hurt turns a speechless role into a fine portrayal of a man gripped by fear; Peter Sarsgaard does what he can with a purpose-built character; and Gena Rowlands abandons the sweetness of her previous character (from the great Diary of a Passion) and takes on an ambiguous type that annoys the viewer.

As not everything in life is perfect, the film also has some slips, which don't interfere with the final product, but if they were removed they wouldn't be missed. As it became fashionable in the made-in-Hollywood thriller movies after Wes Craven released his Scream (Scream 1996) in The Skeleton Key, director Softley also unnecessarily uses elements to provoke the so-called easy scare in some scenes such as sharp cuts, fast movements of camera and a soundtrack that suddenly increases. Such frights add nothing to the plot, which is actually supported by the unfolding of the story. In fact, not even the occasional stumbles compromise the film - such as underestimating the viewer's intelligence and insisting on drawing a parallel between Caroline's pain at not having the opportunity to help her sick father and her exaggerated dedication to Ben Devereaux - something that it was already clear long before Softley forced his hand to include a shot in which the girl sees a photo of her father and then looks at the frail Ben on the porch.

Overall, however, The Skeleton Key is a film that unfolds discreetly, without showing serious defects, but also without having great moments. Whether for the well-conducted history, to see the beautiful and talented Kate Hudson or to discover the natural beauty of New Orleans, especially after the place was devastated by Hurricane Katrina leaving thousands of people homeless and hundreds of dead, as well as a large part of the city destroyed. It is a place that, in addition to its history and architecture, also has strong beliefs and legends that will be perpetuated for future generations and that will continue to serve as inspiration for good films.

Good performances all round. Good locations. Quite a lot of restraint on the writer's/director's part, building the chills in a more classic 70's way than out-and-out ghosts and scares. In fact, a few more scares after the half-way mark would have been welcome; if the ghosts were used any less, they wouldn't be in the film! The reason I've only rated a 6/10, is because it's so predictable. If you've seen any thriller set in the Deep South, you've seen this one. The background story is textbook 'New Orleans' voodoo vengeance, the characters' motives are obvious from the second they appear on screen, and the solid but pedestrian cinematography means that the locations are massively underused. If you've got a decrepit colonial mansion with antique furniture, surrounded by swamps and trees draped in that Lianna/lichen stuff, you've got to be pretty boring NOT to make it all seem brooding & scary - which is unfortunately what they've done.

Kate Hudson is really switched-on, and not your average dumb heroine. There's even one (small) moment where I think I saw a conscious attempt to subvert the conventions and have her do something quite intelligent while in a perilous situation. It's not a big thing, but I noticed. John Hurt is surprisingly effective, really 'working' his eyes and body, considering he's had a stroke (in the film). Gena Rowlands and Peter Saarsgard are fine, but their performances are hampered by the 'all too obvious' script and direction. Joy Bryant is gorgeous but her character is nothing more than a device to give Kate slightly more personality and a convenient person who can explain about hoodoo/voodoo.

Before I shut up, it's important to say something about the ending (without giving anything away). I'm not talking about the 'third act' - that's a bit OTT, as often happens in horror/thrillers - I mean the final scene.. Although the film as a whole is predictable and doesn't quite live up to its potential, the final scenes wrap up the story nicely and will put a grin on your face.

If you've not seen a lot of horror/thriller films, you'd probably give Skeleton Key a 7 or 8 out of 10 - it's coherent, not too long, and fairly enjoyable (like I say, Kate Hudson & Gena Rowlands are really good). But I have seen a lot to compare it to, so 6/10 it is. Which is still worth watching on a dull afternoon, or on a rental.

In case you haven't seen "The Skeleton Key" yet, be very careful when reading any reviews... The less you hear, read or even know about this film the better, because I assure that you don't want to pick up any spoilers about this surprisingly original and ingenious horror-story. "The Skeleton Key" is an old-fashioned, powerful and – above all – well written haunted house thriller with great acting, macabre scenery and a shocking twist-ending that stands as one of the best I've ever seen in modern cinema. Beautifully set in the swampy region of New Orleans (morbidly enough, I saw this film shortly after the hurricane Katrina disaster), the story introduces a young nurse who moves into the ominous Deveraux mansion to look after its dying owner Ben. He had a nearly-fatal stroke in the dark attic of the house and, even though it looks like it was because of his old age, Caroline soon starts to suspect that something (or someone) nearly frightened him to death. Ben's wife Violet behaves very strangely and the old house's vicious history forces Caroline to investigate what could have happened. She discovers that the earliest occupants of the house practiced Hoodoo, which is a more spiritual variant of Voodoo... That's really all you can say about the story without giving away essential clues but, trust me, the rest of the film is definitely worth checking out yourself. Fans of atmospheric ghost stories (such as "The Others" or "Angel Heart") will particularly enjoy this film as it contains almost no graphic violence or gory monsters. Instead of blood, there's a wide collection of truly eerie set-pieces and subtle frights. Kate Hudson delivers a great performance, especially because she's not really familiar with the horror genre. She receives good feedback from Gena Rowlands, Peter Sarsgaard and – of course – John Hurt. The latter is always genius, even when he hardly has any lines. Highly recommended!

Horror movies have become a dime a dozen in the past few years. The watchable ones seem to fall into two categories of late: misguided psychological thrillers headlined by a consummate actress (witness Naomi Watts in "The Ring 2" or Jennifer Connelly in "Dark Water") or over the top slasher/gore-fests with serious kitsch value (witness Romero's enjoyable zombie flick "Land of the Dead" or Rob Zombie's sadistic "Devil's Rejects"). All of the rest have pretty much been unbearable cliché-ridden hack jobs ("White Noise," "Darkness Falls," etc...)

Oddly enough, "The Skeleton Key" doesn't fall into any of these categories and it comes across as a breath of fresh air, an old-fashioned throwback to the traditional Gothic mystery thriller, where a pretty female outsider (Kate Hudson acquitting herself rather nicely here as the hospice nurse traveling deep into the Bayou to care for an apparent stroke victim) moves into a big old house/castle that just might be haunted. The director and screenwriter start things slowly, and do a nice job of creating a realistic setting before letting all the mumbo-jumbo slowly and effectively creep in. Gena Rowlands and John Hurt (immobile and mute for most of the film) are fairly good in their respective roles as the married couple with more than just skeletons in their closets. We've seen this stuff all before, but it's done fairly well here with no sense of flash or pretensions, and as silly (and potentially offensive) as all this Hoodoo in the Bayou stuff is, the audience is treated to a twist ending that makes perfect sense in the context we have been given. This isn't a twist ending for twisting sake, but a fitting conclusion to the story.

"The Skeleton Key" tries to remind people of classics like "Rosemary's Baby" and "The Others." It may not ultimately hold a candle to those films, but it's a very entertaining way to spend a few hours.