The Woman in Black 2: Angel of Death

The well-oiled mechanics of James Watkins‘ The Woman in Black (’12) see an unintentional “advent” of the so-called “modern tactics” in ghost stories of markedly classicist forms. Taking note from the minimalist flair of Robert Wise‘s The Haunting (1960), whilst remaining cautious to service the modern spectator’s customary jolts, the film and its often wobbly framework may

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