How much would you pay for a chance to speak one more word to those youâve lost? A cursory viewing of âBaghead,â another addition to the cinematic world of ghosts, might suggest such a premise to be the central focus of this unremarkable horror outing. Yes, that notion is undoubtedly part of the narrative, but just as much attention is placed on those whoâve been lost as those who are desperate to see those faces one more time. Either way, any focus the film places doesnât go anywhere special. Inevitably, carefully made plans go awry, and unfortunately, we all know this drill all too well.
READ MORE: âBagheadâ Trailer: Director Alberto Corredorâs Creepy Horror Remake Stars Freya Alla & Jeremy Irvine
Iris (Freya Allen) hasnât had the best run when it comes to the challenges of life, though she is fortunate to have the support of her best friend Katie (Ruby Barker), who does what she can to keep Iris on the right path. When word reaches Iris that the father she never mentioned, Owen (Peter Mullan), has passed awayâleaving Iris with a dingy pub as her inheritanceâ the film is quick to introduce us to the presence of Neil (Jeremy Irvine) as he lurks in the shadows of Irisâ new digs. Neil, someone who also appeared in a brief introductory scene begging a then-alive Owen for something not yet revealed, has returned to clarify precisely what he wants and how Iris can assist. It turns out this pub houses a supernatural being in the recesses of its basement, one that, for two minutes, can take on the form of any deceased individual, but extending the experience even one second longer could spell disaster. Itâs a strange, not entirely convincing premise, but it is what it is with this film.
Neil desperately wants to see his late wife once more, going so far as to offer several thousands of dollars for the opportunity, and after confirming the creatureâs existence moments later, it is time for a test run. Though instructions are followed and the ever-necessary personal items are provided to kick off the spectral encounter, the results fail to conjure what (or, more specifically, who) Neil intended. This, however, is enough for the young man to plead with Iris for one more opportunity to see his deceased beloved. Iris sees the financial benefit in this request, but a horrified Katie insists it must be halted immediately. Could a happy ending lie just around the corner? Is it safe to assume otherwise?
All of whatâs been mentioned merely scratches the worn tavern countertop of a film that doesnât even have much more surface to claw at; itâs a setup that feels both slow and surprisingly fast. The first half of âBagheadâ does its best to conjure a suitably unsettling atmosphere, with the darkened pub housing much of the filmâs action and no shortage of eerie noises making their presence known at appropriate times. However, and perhaps most unfortunately, any meaningful stabs at an examination of grief, coping with death, or the ability to move on play second fiddle to conventional horror half-scares. A feature-length expansion of director Alberto Corredorâs own 2017 short film of the same name, âBaghead,â also faces the unfortunate timing of following last yearâs well-received âTalk to Me,â a similar film much more compellingly made. Even though the cast offers their best, with Allen a particular standout, itâs far from enough to separate this run-of-the-mill imitator from anything more distinct and original.
âBagheadâ feels like a significant missed opportunity. The chance to see a deceased loved one again could be a gift or a curse and could easily damage the grieving process. But Corredorâs film just isnât interested in exploring anything with any depth. Its concept doesnât necessarily need dimly lit sets, ominous scores, and sinister forces; ghosts shouldnât have to necessitate a need for fear, but itâs really the only note that âBagheadâ plays. Nods to forefathers such as âPoltergeistâ rear their heads occasionally. But by the time a convoluted explanation of sorts finally arrives at the expected climaxâ along with a twist that goes from near-effective to a touch clumsyâ itâs clear that âBagheadâ is its own sort of movie, almost entirely average and never justifying its existence.
The way this tiny cluster of characters takes advantage of what may very well be a misunderstood monster is the ultimate issue lurking within the walls of âBaghead,â or perhaps itâs a simple warning against dealing with a power one canât begin to understand. For anyone whoâs experienced firsthand the pains associated with a loved oneâs final departure, death is about how we cope, how it defines us, and how the legacy of someone who has passed is never truly gone. âBagheadâ cannot grapple with bigger questions; instead, it is mostly just satisfied with cheap jump scares that donât provide any value or comfort to those who have suffered loss. And even as a basic scary horror, it just doesnât hold the goods. [C+]
âBagheadâ is available now on Shudder.
