Stalker Review
Stalker is set in a suitably chilling gothic manor in the English countryside. Paula has been sent here by her agent to finish her book; a follow up to a previous bestseller. In order to speed up the process a PA, Linda, has been sent to lend a helping hand. But Linda’s idea of helping is to violently turn on everyone around her, including Paula, with terrifying results.
Martin Kemp referred to the film as a ‘psycho-chiller’ with plenty of red herrings along the way. Part ghost-story, part hammer-horror, there are nods at every horror genre here which keeps you guessing at what’s really going on. The twist in the end is nicely set up, so if you’re observant enough you’ll keep up, and if not you’ll enjoy it. There’s a very solid narrative running all the way through this and it doesn’t rely too heavily on the horror.
We’re introduced to Paula during a bad time for her; despite her bestseller success she’s mincing, quiet, introverted and unable to deliver a second novel. Her agent, Sara, plays the agent with zeal and almost forcibly tells Paula to spend time in the country. Paula acquiesces and we see her return to the home of her summer holidays when she was a child. An early gory accident forces her to acknowledge she needs help and in pops the vampy Linda, all smiles, eagerness and encouragement. Despite the extra help, Paula is clearly unwell, seeing things and asking the housekeeper if the place could be haunted.
Linda suddenly and viciously turns, and what seemed like an unconvincing piece of cinema narrative soon made sense in the film. The violence is fairly brutal and graphic, but the film doesn’t rely on it. Instead it’s the tension, Paula’s apparent madness and Linda unpredictability that drive the film; which is what makes it enjoyable and compelling.
The film was made on a miniscule budget, around £130,000 and there are certain places where that might be evident; I could have done without the slimy body shots. There is a sense that you get what you pay for and while it is a strong showing, it isn’t in the same league of British horror films such as 28 Days Later or Shaun of the Dead. Internationally, Halloween, Paranormal Activity and The Blair Witch Project were all created on smaller budgets and have a more lasting impression.
As someone with a keen eye for post-production, I’d also commend the treatment. The muted colours and the scenes in the unlit house, the cellar and especially the forest were convincing. On a shoestring budget, it’s easy for a film to look cheap, but Stalker avoided that by using some interesting ideas for dream sequences and chase scenes.
As someone who’s terrified of terror, I was suitably afraid all of the way through, and was relieved that the film ended on a moment of brevity. The film is extremely well-paced, thrilling and maintains a sense of suspense all the way through. It certainly paves the way for Martin Kemp, with his long history in the industry, to continue directing. I feel that the film would do well on television, but I doubt that it’s substantial enough for a strong cinema following. But there are a lot of good things about this film and all things considering, this is an excellent first foray into directing by Martin Kemp.
Maliha Basak