Directed by modern master of horror Neil Marshall (The Descent, Dog Soldiers, Game of Thrones), The Reckoning was written by Marshall, star Charlotte Kirk and Edward Evers-Swindell. Also available on Shudder CA and Shudder UK.
Synopsis
After losing her husband during the Great Plague, Grace Haverstock (Charlotte Kirk, Ocean’s 8) is unjustly accused of being a witch and placed in the custody of England’s most ruthless witch-hunter, Judge Moorcroft (Sean Pertwee, Dog Soldiers). Forced to endure physical and emotional torture while steadfastly maintaining her innocence, Grace must face her own inner demons as the Devil himself starts to work his way into her mind.
Review
Neil Marshall’s The Reckoning sets out to take the witching-hunting horror genre and turn it in to something of a poster child for the #MeToo movement. Using the setup as an analogy for the misogynistic behaviour of men in the 1600’s. The script, co-written by Charlotte Kirk who is also the film’s lead, has all of the right foundations to create something truly unique for the genre but often lets itself down in its execution.
The setup is simple: Kirk’s Grace Haverstock is left widowed when her loving husband hangs himself after becoming infected with the bubonic plague. It leaves her with a child and house to manage. But when she rejects the advances of toxic masculinity stereotype Squire Pendleton (Steven Waddington) he accuses her of witchcraft and sets in motion the film’s key message.
The Reckoning doesn’t seem 100% committed to that message. Setting up Haverstock as the caricature of a smutty novel cover star. Kirk plays her with incredible commitment to the story but the makeup and costume department paint her like she belongs searching the moors for her lost love. Rather than defending her life from the very men who wish to suppress it.
It’s this kind disjointed presentation which threatens to derail the message of Kirk and director Neil Marshall’s story. When Squire Pendleton calls in infamous witchfinder John Moorcroft (Sean Pertwee) and his sinister cloaked female servant, Ursula (Suzanne Magowan), The Reckoning begins to setup an antagonist worthy of Grace’s revenge. But his constant postulating replaces potential action with something more akin to a medieval courtroom drama.
The supernatural elements of plot seem to come in the form of visions which the sleep deprived Grace witnesses in her cell. Dark and disturbing images of being visited by a demonic creature remain very much left up to the audience as to whether they truly take place or not. Likewise there is little actual witchcraft on show as it would likely detract the film’s undoubtedly important message.
When Grace is strapped to a table and used as a pincushion for days on end she refused to confess to being a witch. It portrays a strength of character which is befitting of this feminist leaning story. But rather than galvanise her character with the strength to defy her captors, Grace is instead demoted to endless screams as she is prodded and even raped with torture implements.
In its third act The Reckoning, of course, allows Grace to take revenge on the men who have imprisoned her. Whilst it feels more like an escape than a defiance of their toxic masculinity, Grace’s survival does drive home some of the feminist message. From a plot perspective however it does feel difficult commit to the physicality of her escape given the mistreatment and injuries which she has sustained.
But still there is much to like here. Luke Bryant’s cinematography is vibrant and full of life. It’s also elevated by a wonderful score from composer Christopher Drake. Both create a rather luscious landscape in which these grievous acts are committed.
Verdict
The Reckoning boasts a strong message of feminism amongst a backdrop of familiar historical events. But in striving to root itself in horror the film loses some of the impact of its vital message.
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