The Lodge Review
R: Disturbing violence, some bloody images, language, and brief nudityRuntime: 1 Hr and 42 MinutesProduction Companies: FilmNation Entertainment, Hammer FilmsDistributor: NEONDirectors: Severin Fiala and Veronika FranzWriters: Severin Fiala, Veronika Franz, Sergio CasciCast: Riley Keough, Richard Armitage, Alicia Silverstone, Jaeden Martell, Lia McHughRelease Date: February 7, 2020
A bone-chilling nightmare from the directors of Goodnight Mommy, The Lodge follows a family that retreats to their remote winter cabin over the holidays. When the father (Richard Armitage) is forced to abruptly depart for work, he leaves his children — Aidan (IT's Jaeden Martell) and Mia (Lia McHugh) — under the care of his new girlfriend, Grace (Riley Keough). Isolated and alone, a blizzard traps them inside the lodge as terrifying events summon specters from Grace’s dark past.
In the midst of Sundance 2019, I checked out a horror movie called The Lodge, which was made by the filmmakers behind the beloved Goodnight Mommy. Initially, I was blown away. It was one of those slow burn horrors with such a well-crafted and relatable premise that keeps you biting your nails all the way through. It was one of my absolute favorite films from the festival that year. That said, I was in a film festival headspace. While at a film festival, you can easily be swayed by the energetic atmosphere in the room, which harbors all of your criticisms regarding the movie. It’s been one year since I saw this movie. So much has happened since then. Jaeden Martell even changed his last name! Who knows, maybe this second viewing could change my perspec— nah, who am I kidding? The Lodge fucking rules.People might compare this to Ari Aster’s Hereditary, for it bears a similar uneasiness in its atmosphere and the tense build-up of momentum along with the creative visual motifs, including miniature dolls in a dollhouse as the transitional beats, moving the narrative from one point to the next. That said, this film has such a relative factor that just grips me from the get-go with a gory cold open that kicks off the story. It involves the dismantling of a family and those who have experienced the effects of divorce can emotionally resonate with it. The shit that Aidan and Mia go through with Grace is every child of divorce’s worst nightmare.
A good portion of the first act is primarily centered on the perspective of the kids and their understandable, silent resentment towards their dad and Grace. You feel sympathy for them throughout their fucked up experience. Then, in a sudden but clever twist, the story switches to Grace as they reach the titular setting. She is trying her damndest to get along with her beau’s kids as he straight up abandons them in the coldest of areas in the worst conditions. Fuck the dad. Given the information you’re provided regarding her past, you know that Grace is trying to live a normal life and escape her own traumatic youth. On top of that, the characters are likable, which makes this film gripping and encourages you to get invested. The kids aren’t brats in any way. Besides feeling sympathy for them, you admire the bond they share and how Aidan supports Mia in an emotional sense. Albeit having such a frightening past, you care about Grace as well. There’s a good amount of humor spliced in there, which stems from their awkward interactions. You can relate to all of these parties, so when cabin fever kicks in (along with some aquaphobia, and claustrophobia), the madness goes bonkers. The filmmakers made the most out of their single-set location and it gives you an overwhelming sense of dread. Because of the wintery environment, the cinematography boasts a light tin blue color palette alongside dark lighting in the interiors, which perfectly matches the tone the story sets.Writers/directors Severin Fiala and Veronika Franz do such a magnificent job of immersing you into this haunting story and screwing with you psychologically as they play with the dual focuses of the 3 central leads. It’s kind of like a fable because every little action is followed by a karmic consequence/lesson. It’s beautiful in its own disturbing nature and I think that’s why I love it so much. If you’ve seen The Lodge and are able to pinpoint all the beats leading up to the twist — which is, in my opinion, just downright perfect — you might understand where I’m coming from.
Riley Keough. Oh my God, she is now one of my top ten favorite actresses of today. She exudes a welcoming air of charm and innocence, but by the second act, she shifts into someone so haunting and intimidating. She reaches a Jack Nicholson level of terrifying. By the end of the film, she had me gasping for air over how psychotic she was, but she never went over the top. She’s a mellow kind of crazy, which I find to be the most effective. This is her year for sure! Jaeden Martell and Lia McHugh are exceptional, too. Martell has been great in so many different projects and this is no exception. This is the first time I've ever seen McHugh in anything and she’s really great as well. There came a moment where it felt like you’re just watching the dismantling of everyone’s sanity in a scenario that would make for a great double feature alongside The Shining. However, as a child of divorce, I find this far more terrifying than The Shining. I absolutely adore The Lodge so much and my second viewing bumped up my overall love for it. I’ll tell you this: If this was released in 2019, it would’ve cracked my top 15 of the year, but since its official release is in 2020, it’s currently sitting on the throne within my personal top 10 of the year so far. Please go see this. You’re going to experience such a fun, wild ride with this one. Rating: 4.5/5 | 91%
