When two kids stay with their dad's new girlfriend in a remote cabin, strange events begin to manifest. Does it have something to do with a suicide cult that's decades dead?
is when Grace and her boyfriend's two kids, Aidan and Mia , watch the part inwhere Childs torches the mutating dogs with a flamethrower. We also see another moment from earlier in the 1982 movie play on the TV at the titular lodge, when Dr. Blair explains away the fate of the cracked-up Norwegian expedition."Cabin fever, who knows?" he says. By the timeahead, but major plot points are avoided.
Mia and Aidan's father is an aesthete workaholic, with a taste for Nordic spaces and deluxe rustic experiences, like the Thanksgiving meal he serves up outdoors in the cold, where his presentational tableau appears almost magazine-ready. He wrote the book on Grace's family cult and its 39 dead bodies but still has a demanding career, which leads to his terrible plan to leave his kids with Grace at the lodge in the days before Christmas.
After forty or so minutes of this uncomfortable, thrown-together family dynamic, the narrative gearwork starts to click, and a succession of contrivances drag Grace back toward her cult days. Snowbound and without power, it's not long before reality begins shifting around her. At first, things go missing: her pills, then her clothes and her dog. Soon the dead intrude, as Grace hears her father's voice and sees him under the ice.
slides the minds of its characters apart, but struggles doing the same to its audience, relying too much on visual and auditory props—a painting of a black-robed madonna, dying brine shrimp, fizzing diegetic sound and ear-slamming organ bursts—with so little connection to events they begin to feel like affectations from some other movie; like its periodic returns to Mia's dollhouse, where events in the lodge are restaged in miniature.Hereditaryit's more like a gimmick. Butcollage.
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