United Kingdom · 2021
1h 37m
Director Christopher Smith
Starring Jessica Brown Findlay, John Heffernan, John Lynch, Sean Harris
Genre Horror
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The Banishing tells the story of the most haunted house in England. In the 1930s, a young reverend, his wife and daughter move into a manor with a horrifying secret.
While it’s admirable that this isn’t just another haunted house movie that relies solely on atmosphere and a handful of jump-scares, The Banishing is, in the end, a bit too much: Watching it is akin to sitting through a supercut of highlights from a season of American Horror Story (subtitle: British Countryside). There’s fun to be had, but too little of it can be un-ironically admired.
We all have our own regrets and sins to reconcile with. The Banishing reminds us that sometimes we’re forced to answer for the sins of others, too.
RogerEbert.com by Brian Tallerico
Despite a few strong production values and performances, Smith’s film simply crosses the lane into incoherency and not the surreal David Lynch-esque kind of incoherency that sets a tone, but the this-needed-a-better-edit-or-rewrite kind of incoherency that gets people wondering what else is on Shudder.
The Banishing ends with such a walloping undertow of “wait, that’s it?” that it earns little more than the backhanded compliment of realizing you expected a lot more from it.
The New York Times by Jeannette Catsoulis
The Banishing never finds its groove.
Paste Magazine by Natalia Keogan
As opposed to relishing in the eerie yet widely disputed history of the creepy old house (re-dubbed the Morley Rectory), the film steeps itself in awkwardly placed commentary on fascism and feminism, effectively diminishing any ambiance invoked through the otherwise alluring 1930s set dressing.
The story’s dawdling pace works against it, and attempts at injecting urgency into the third act seem too chatty and explanatory for suspense to build. The effects are more interesting than chilling.
It needed a director to grapple with all this, deadhead the redundancies and deliver a coherent vision; it’s especially disappointing to watch Christopher Smith struggle to pull it off.
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