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The Hallow

Canadian Premiere
Official Selection, Sundance Film Festival 2015
Official Selection,Stanley Film Festival 2015
Official Selection,Seattle Film Festival 2015

“Viscerally scary” - David Rooney, HOLLYWOOD REPORTER

“A relentless creature feature” - Brad Miska, BLOODY DISGUSTING

THE HALLOW from eric lavoie on Vimeo.

Refreshing, gorgeous and effectively scary, Irish director Corin Hardy tackles mythology and fantasy rooted in his own culture with THE HALLOW, the latest production by the busy Brendan McCarthy (last year’s LET US PREY; this year’s CHERRY TREE). THE HALLOW follows a family (Mom and conservationist Dad, plus baby onboard), who take up residence in a woodland cottage. These outsiders immediately get the usual cold shoulder and dire warnings from the locals, and Dad further rubs the townsfolk the wrong way, with both his “green” spiel and his unwillingness to pay heed to the creepy critters living in the woods. Before long, said critters take an unwholesome interest in the couple’s wee tot, and the cabin comes under siege by the fearsome nocturnal creatures, who would give THE DESCENT’s underground dwellers the willies.

THE HALLOW introduces some of the scariest on-screen SFX creations in recent memory, and offers much more than your standard jump-scare looks at them. In fact, director Hardy’s whole vision toys with the expectations of the monster movie; the filmmakers understand the need for clever rules and justifications behind the mythos of its seriously freaky monsters. On top of that, the setting serves as a genuinely beautiful environment in which our “survive-the-night” story takes place. Additionally, the film is given a colorful, eye-popping visual composition by cinematographer Martijn Van Broekhuizen, who weaves between fantasy and gritty reality with expert precision. A fine group of performers (GAME OF THRONES vets Joseph Mawle and Michael McElhatton among them) endure this unnatural evening. Emotional, eerie and occasionally experimental, THE HALLOW is definitely an audience picture as well, playing its crowd like a fiddle with its never-ending intensity.

— Ken G. Hanley