In the midst of difficult times, 'Queen of Bones' explores the intertwining themes of religious hysteria, family secrets, and a touch of the occult. Filmed in Ontario, Canada, this independent production takes viewers on a journey through a rural gothic setting that echoes the dark melodrama of 'Flowers in the Attic' and the supernatural coming-of-age story of 'Carrie.' While the film is watchable, it falls short in delivering the impactful ideas and execution found in these notable works, resulting in an underwhelming experience. Falling Forward Films plans to release the movie theatrically later this year, but it may find a more suitable audience in home formats.
The screenplay, written by Michael Burgner, is divided into chapters with suggestive titles like 'Prologue: It Began With Blood' and 'Chapter Seven: Domain of Darkness.' These divisions promise a shocking and intense content that unfortunately fails to materialize. The story revolves around 14-year-old twins Lillian (portrayed by Julia Butters) and Samuel (played by Jacob Tremblay), living in a remote area of Oregon in 1931. They are under the strict control of their widowed father, Malcolm Brass (Martin Freeman), who constantly reminds them that their mother died giving birth to them. As the twins start to question this narrative, tensions rise within the family.
Sam dreams of escaping their father's oppressive rule, while Lillian, who is devout and obedient, becomes a formidable challenger to her father's authority. Curiously, their father is eager to send Lily off to a convent, denying her the opportunity to enroll in a music conservatory, even though she is a gifted violinist. Adding to the intrigue is the presence of Ida May, played by Taylor Schilling, a local woman who seems eager to become the next Mrs. Brass. Time seems to be running out for the siblings as they realize their shared rebellion may soon come to an end.
The arrival of a trunk containing their late mother's belongings further fuels the twins' defiance. Against their father's orders, they explore the trunk and discover a handwritten book filled with spells and symbols similar to those carved into nearby trees. Lily, facing the threat of exile, begins to exhibit uncanny powers inherited from her mysterious mother. As the story progresses, we witness the fallout of their mother's involvement in some form of pagan mischief, as blamed by the bitter mother-in-law (Patricia Phillips), who holds Malcolm responsible for her daughter's untimely demise.
Robert Budreau, the director best known for helming fact-based films such as 'Stockholm' and 'Born to Be Blue,' attempts to capture the period flavor of the 1930s. The cinematography by Andre Pienaar incorporates a near-square aspect ratio and a muted color palette to enhance the setting. However, despite the effort put into the design, the principal actors fail to fully convince audiences of their characters' authenticity or their familial connections. Moreover, the film lacks the necessary atmosphere and suspense required to bring to life a story that aims to expose religious hypocrisy and evoke fear surrounding the rumored 'witch in the woods.'
'Queen of Bones' ultimately leaves a tepid impression, missing the mark in fulfilling the expectations set by its compelling themes. On a positive note, the film may resonate with younger viewers who appreciate stories of rebellious teens fighting against adult oppression and are intrigued by the murkily developed supernatural elements. However, those expecting a genuine 'folk horror' experience are likely to be disappointed as the film leans more towards the tone of an 'Afterschool Special' rather than embracing the constrained thrills of a PG-13 frightfest.
While 'Queen of Bones' may not have achieved its full potential, it offers a glimpse into an intriguing world of religious fervor, hidden secrets, and the supernatural, making it a watchable movie for those interested in exploring familiar themes and character types.
