The Ghoul

Seems to me the most frequent complaint about this film is that it is 'slow and boring' and the most positive that it is like Mulholland Drive. The latter comparison, is falsely made, I guess, because the film is complicated and the former remark simply because this tends to be the fallback option if there are not enough explosions. If anything the film moves too fast for its own good. The dialogue is excellent, full of provocative thoughts and human insights but a lot is expected of the viewer and it is easy to get left behind. The therapy sessions should be an opportunity for things to slow down and for us to get our bearings and sort out what is real or not to us and perhaps more pertinently what is real or not to the characters. But nothing is as simple as it appears here and even the sessions seem to take us into even darker areas. Excellent, but not the easiest film to follow because it does not set out a simple path. For those for whom that sounds 'boring', I guess will find it boring. Not sure what that proves though.

Dark and confusing story dives into the multidimensional territory of time loops; peppered with a bit of Fight Club & a dash of Taxi Driver. Don't let the title fool you, certainly not horror.

I had never heard of this film before and it was rated average-like so I watched it at home & I can't say it was time wasted (I like movies) but I can't sing its praises either. At one point midway through I was so bored that I did consider turning it off but I knew the ending had something in store that, even if not amazing, I felt I should stay on for.

The ending will disorient viewers, including myself, and it's quite good. Unfortunately for the ending, the bulk of the rest of the story leading up to it borders on slow torture. A lot of films are great until the final act ruins them; this one is the opposite, with a climax that would have done better attached to a different project.

A for effort. 4/10 for my tastes.

Just watched a bizarre mind bending thriller "The Ghoul", that is not a horror film, although by the title, you might think so. This movie is just as much reality in the non linear plot, as it is just a fantasy going on in the lead character's mind. Don't expect me to explain it, one reason, many have compared it to David Lynch's "The Lost Highway", which I don't agree. I was able to follow it, if that is possible, by figuring what is really going on, and what is just a figment of the lead character's mind. That's not easy, but I like the very bizarre twists and turns the movie takes, to only end up where it started, but with many questions answered. You have to stay with it, and pay very close attention to the script as it moves along. I don't know if I would recommend it, it's like putting together a big puzzle, with a few pieces missing, that you eventually find laying on the floor somewhere.

A soaring triumph of the cinematic imagination, conspicuously gifted first time feature director, Gareth Tunley's audaciously inventive, compellingly strange, reality-warping psychodrama,'The Ghoul' is a divinely disturbing, almost wholly interior Detective story that teasingly opens up a perception tweaking wormhole of cans, and, perhaps, if fellow agitators, Ken Russell or Donald Cammell had turned their mischievous Mise-en-scène to creating a more psychotronically-inclined Scandi-Noir it just might resemble something like 'The Ghoul'.

Both text, earnest performances, and filmmaking are all of an exemplary standard, and the dizzyingly off-kilter journey into Chris's (Tom Meeten) increasingly metaphysical madness happily proves to be a rewardingly convoluted one! Tunley's theologically trippy, deliriously circuitous, starkly intimate nightmare is moodily set to a spare, yet immersive score by composer, Waen Shepherd. Fans of 'Enemy' (2013), 'Predestination' (2014), and the similarly tweaked, 'The Rambler' (2013) are sure to find The Ghoul's assured transport into a palpably tormented mind scape not only intriguing, but one that provided a rewardingly oblique conclusion. I went into 'The Ghoul' not knowing quite what to expect from it, which ultimately made this uniquely inward experience that much more thrilling.

A homicide detective (Tom Meeten) goes undercover as a patient to investigate a psychotherapist he believes is linked to a strange double murder. As his therapy sessions continue the line between fantasy and reality begins to blur.

Strangely, for a film this dark, the casting came from comedians who were working at the Edinburgh Festival. Their skits led to "The Baron" (2013), a comedic short film made for "a few hundred quid". This brought together Gareth Tunley and writer-actor Tom Meeten, as well as bringing in composer Waen Shepherd and producer Jack Healy Guttmann. It would be no exaggeration to say that "The Baron" was the test run for "The Ghoul", despite them having nothing in common thematically. Those involved believed that if Christopher Nolan could make "Following" with no budget, they could pull it off, too.

From the get-go, Waen Shepherd's score is reminiscent of Angelo Badalamenti; interestingly, Catherine Bray thinks the film is "scary in the manner of David Lynch films, with the chills coming from a nightmarish repurposing of the mundane or suburban", so perhaps the score is intentional. Of course, Shepherd does much more than that -- he has provided just about every genre of music (60s pop to reggae) to the soundtrack.

The plot is defined as a cinematic Möbius strip by writer/director Gareth Tunley. This almost gives too much away, but at the same time is really at the heart of the film. The most interesting scene is the one where the various objects in the doctor's office are described: the mobius strip, the ouroboros (infinity snake), and so on... we are made quite aware of how important this is.

Let's look at the critics. Gareth Jones praises the film, with his only concern being that "it can occasionally find itself bogged down by its overly melancholy presentation and measured pacing". This is fair, though probably unavoidable. Bray compares the film favorably to Lynch's "Lost Highway", though she has concerns that the film "isn't the midnight horror romp its title may suggest", and this may cause it to connect poorly with audience expectations. True, the title may be misleading, but it has its own importance, too.

Stephen Dalton thinks the picture "feels a little too slight and cryptic to make any serious headway with mainstream genre fans... never quite delivers on its mind-bending promise." Yet, "Tunley confirms his mastery of macabre moods here. Now he needs a bigger budget and a broader canvas." Mainstream or not, it fits in well alongside films like "Timecrimes" that have us questioning the linear story-telling.

Peter Bradshaw may be the harshest critic, saying the movie "feels like a film-school project" that is "heartsinkingly pointless" and "takes us on a journey to nowhere." Not only is Bradshaw the most harsh, but the most off-base. While he may not be wrong, strictly speaking, the "pointlessness" is precisely the point! The film never sets up to tie everything up with a ribbon, and this may be its greatest strength: viewers are well-served to watch it twice or more to deepen comprehension.

Though Arrow Video specializes in bringing forgotten gems back to life, they do just as great of a job when they are working with contemporary titles like "The Ghoul". On their Blu-ray release, we get the filmmakers' commentary, interviews with most of the cast and crew (which are very insightful), and even "The Baron", the short film by Gareth Tunley, starring Tom Meeten and Steve Oram.