Directed By: Vincenzo Natali

Starring: Stephen McHattie, Abigail Breslin, Michelle Noldan

This ‘reverse ghost tale’ from director Vincenzo Natali (Cube, Splice) certainly has some big ideas about the nature of hauntings, but can it transition them to the big screen in a way that’s entertaining and exciting for viewers? The answer is… maybe?

Whether or not you enjoy Haunter depends entirely on how much value you assign things like atmosphere or tension. Even the traditional ‘scares’ take a back seat to allow for this films real focus – the story – to unfold.

At it’s core, Haunter is a unique ghost story told from the perspective of the ghost itself (Abigail Breslin), who is trying to contact the living in order to protect them from being killed by a murderous spirit known as ‘The Pale Man’ (played with smouldering glee by Pontypool‘s Stephen McHattie).

It’s an interesting idea and it’s executed quite well, but it’s also blandly predictable and surprisingly formulaic for something that’s trying so hard to reinvent the genre. Once you have a grasp on the set-up, the story plays out like any other ghost story, leaving the film at the sole mercy of it’s low budget, poorly executed scares and laughable special effects.

Abigail Breslin (That little one with the attitude from Zombieland) is absolutely bloody awful as the tormented spooker, relying on a twisted grimace and constant swallowing to portray fear (either that or constipation, i’m not sure which). Everybody else is mostly okay, considering what the script gives them to work with, but the simmering McHattie as ‘The Pale Man’ steals the show, plus a touching scene in which Lisa’s little brother finally finds his glasses does more to highlight the family’s true plight than anything before or after it.

At the heart of it, Haunter wants to be different, but it ends up relying too much on the premise to set it apart, letting the meat and potatoes of the film slip into the established tropes of the genre. There is so much potential, especially in after the Pale Man’s true nature is revealed, to serve up some disturbing scenes and grotesque imagery, but nothing is capitalised on by the time the credits roll around. Disappointing.

2/5