Creepy-doll characters are a fixture of countless horror movies, although few are as imposing as the life-size wooden mannequin that figures centrally in Irish writer-director Damian McCarthy’s. Rather than relying on an overtly identifiable genre template however, McCarthy’s second feature incorporates a distinctly internalized, foreboding atmosphere of dread that’s more unnerving than particularly frightening.
It’s at about this point that the film’s tone shifts from an unsettling murder mystery to a menacing supernatural suspsenser. Although Darcy tells Ted early in the film that she has the ability to “read” people’s personal possessions and visualize key moments in their lives, the extent of her paranormal abilities isn’t entirely clear. It’s obvious, though, that her psychic skill set, so different from Ted’s rational medical perspective, profoundly disturbs him.
Frightened and desperate, Yana phones Ted for help, but before he can return she flees, leaving him to deal with Darcy. She tells him that her reading of a very personal item of Boole’s reveals that he didn’t murder Ted’s wife , escalating the pair’s intense confrontation over the identity of Dani’s murderer.
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