Much of the problem with Castle Freak (and in a rather wider segment of the horror genre in general) can be seen in the opening. While on a technical level this is an effective watch, with a degree of craft above your basic fright flick, it relies upon tropes that are just not very interesting anymore. The film opens with a cloaked woman praying at an alter before being interrupted by the howls of a beast far off. She goes to the beast, feeds it and punishes it, and then returns to her altar. She strips of her cloak and proceeds to whip her naked body. We cut ahead an undisclosed amount of time, the beast is free, the woman is dead and the camera lingers on her body as it is first mourned by the beast and then desecrated. Immediately this put this critic in a place against the film because it, as is so often the case, from the beginning treats its female characters as disposable objects to be stripped and destroyed. In 2020 this is boring and unforgiveable, with numerous examples of films that elevate themselves by offering interesting material no matter what the gender of the performer (for example Brandon Cronenberg’s Possessor).
Which is a shame. Because Castle Freak at its best is at least an interesting watch. A remake of the beloved 90s Stuart Gordon curio (based off the H.P. Lovecraft short The Outsider starring horror royalty Barbara Crampton – who here produces) this version follows a young woman who inherits the castle of both the opening and the title, and with it the creature that lies within. Our protagonist seems to have a link to the place that allows her visions others can’t see, while soon arrives to be victims of an increasingly violent second half. Kathy Charles’ script at least finds time for some interesting character development, whilst director Tate Steinsiek mounts sequences impressively.
But again and again it falls back on unfortunate stereotypes and tropes. A quarter of a century on from the original and you ache for the horror genre to fully move off of the more problematic elements this film wallows in. Even the presence of Jake Horowitz (so impressive in this year’s outstanding The Vast of Night) in the cast can’t redeem the film.
Some genre fans will forgive the film its shortcomings, powering through to some of the more enjoyably violent moments. There is a degree of world-building here and ambition that is admirable. You just wish the film didn’t need to plum the worst aspects of the genre I so love. Certainly there is talent here, it’s just cocooned in a film that feels rather lacking.
Which is a shame. Because Castle Freak at its best is at least an interesting watch. A remake of the beloved 90s Stuart Gordon curio (based off the H.P. Lovecraft short The Outsider starring horror royalty Barbara Crampton – who here produces) this version follows a young woman who inherits the castle of both the opening and the title, and with it the creature that lies within. Our protagonist seems to have a link to the place that allows her visions others can’t see, while soon arrives to be victims of an increasingly violent second half. Kathy Charles’ script at least finds time for some interesting character development, whilst director Tate Steinsiek mounts sequences impressively.
But again and again it falls back on unfortunate stereotypes and tropes. A quarter of a century on from the original and you ache for the horror genre to fully move off of the more problematic elements this film wallows in. Even the presence of Jake Horowitz (so impressive in this year’s outstanding The Vast of Night) in the cast can’t redeem the film.
Some genre fans will forgive the film its shortcomings, powering through to some of the more enjoyably violent moments. There is a degree of world-building here and ambition that is admirable. You just wish the film didn’t need to plum the worst aspects of the genre I so love. Certainly there is talent here, it’s just cocooned in a film that feels rather lacking.