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The Blackcoat's Daughter
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Additional Blu-ray options | Edition | Discs | Price | New from | Used from |
Watch Instantly with | Rent | Buy |
Purchase options and add-ons
Genre | Horror/Supernatural |
Format | NTSC, Widescreen |
Contributor | Emma Roberts, Lucy Boynton, Kiernan Shipka, James Remar |
Language | English |
Runtime | 1 hour and 35 minutes |
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Product Description
When their parents fail to pick them up for winter break, Kat (Kiernan Shipka) and Rose (Lucy Boynton) are the only students left at their all-girls Catholic boarding school in Upstate New York. Somewhere nearby, Joan (Emma Roberts) makes her way to the school with the help of troubled couple Linda (Lauren Holly) and Bill (James Remar). A powerful demonic force will cause the lives of these five people to become forever intertwined in this chilling horror tale directed by Oz Perkins (Anthony's son). 95 min. Widescreen; Soundtrack: English DTS HD 5.1 Master Audio; Subtitles: English (SDH), Spanish. Two-disc set.
Product details
- Is Discontinued By Manufacturer : No
- MPAA rating : R (Restricted)
- Product Dimensions : 0.7 x 7.5 x 5.4 inches; 3.2 ounces
- Audio Description: : English
- Media Format : NTSC, Widescreen
- Run time : 1 hour and 35 minutes
- Release date : May 30, 2017
- Actors : James Remar, Kiernan Shipka, Lucy Boynton, Emma Roberts
- Subtitles: : English
- Studio : Lionsgate
- ASIN : B06Y19JQXB
- Country of Origin : USA
- Number of discs : 2
- Best Sellers Rank: #7,840 in Movies & TV (See Top 100 in Movies & TV)
- #470 in Horror (Movies & TV)
- Customer Reviews:
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Top reviews
Top reviews from the United States
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To begin definitively, this film is a modern horror masterpiece and one of the best genre offerings of the last decade, should eventually be recognized as such if there is any justice in the horror film world, and is probably the most satisfying, interesting, and well executed film of its particular horror sub-genre (I won’t say which to avoid spoiling it) in decades (it’s in the top 5 ever of that sub-genre for sure.)
Got your attention? I hope so; this film deserves it. I’m not going to go into any specific plot details; instead I’ll just discuss the film’s building materials and the characteristics that make this film great.
First, it demonstrates master-class screenwriting. Even the most seemingly innocuous corners of this movie drip with double meaning and symbolism (including the title of the film, which itself conveys multiple arcane meanings) – but not in a pretentious, ham-handed way. Like most masterworks of literature or film that feature this characteristic, this movie can be enjoyed on a purely surface level as well as a deeply metaphorical or allegorical level. A scene that perfectly illustrates this is a seemingly ordinary conversation that takes place early in the film between an authority figure and someone they are responsible for. Once you see the film, and then go back and watch that scene again, you are flabbergasted at how much diabolical double meaning that conversation really has.
Second, it features top-shelf cinematography and shot-framing. This film reminded me of a David Lynch film – minus the often weird, surreal, and incomprehensible parts. One thing that Lynch knows how to do better than almost anyone else is to infuse his shots with dread by way of expertly crafted camera subjectivities, lighting, and pacing. This film expertly does those things too. The result is a continual sense of foreboding throughout the entire film – a sustained stab deep into the viewers id.
Third, the soundtrack is completely on point. The ambient sounds and music combine for a completely effective aural creep-fest, doing for the ears what the camerawork does for the eyes. Unlike so many films where lame music choices and ill-chosen sound features distract and annoy rather than elevate, this film’s sound elements wind their way into the pit of your stomach and stay there throughout. I REALLY recommend seeing this movie somewhere that has decent sound hardware and where you can turn the volume up a bit.
Lastly, it features outstanding acting, particularly from Kiernan Shipka – who, because of this film, I now am a huge fan of. Even Emma Roberts – who for some reason seems to put a lot of people off – is good in this film. Lucy Boynton also does a fantastic job. Kiernan’s the standout here though; and, damn, does she ever deliver the goods.
Okay. So, to sum up, if I had to describe this film in one word, I would choose “atmosphere,” which this film has in buckets. Every element of the celluloid works together to deliver a filmgoing exercise in eerie unease and quiet menace. As an English major, as a literary critic, and as a lifelong horror movie fan, I love this movie. The filmmakers put together something really special here, something that allows the audience to filter it using whatever lens they feel speaks to them – be it Freudian, structuralist, feminist or another – and to assign their own meaning and subjectivity. Or, just the opportunity to dispense with all that and just sit in rapt apprehension and chew one’s nails for 95 minutes. There have been criticisms of how the film’s reveals were too easy to guess or that the time displacements were too hard to follow, but these criticisms just aren’t valid in my opinion. In terms of the reveals, fooling you is not the point; rather, allowing you to digest new information at a prescribed pace in order to add fuel to your personal formulations is the point. And the timeline is not confounding if you’re paying attention and not checking texts on your phone. I’m sure the people that like garish and generic spoon-fed horror and/or the ones that can’t be bothered to actually pay attention are undoubtedly the ones that gave this film bad reviews. Ignore them. This film demands to be watched, and I’m betting it will appear on many “best” lists down the road. It didn’t get the attention it deserved during its theatrical run because it was overshadowed by other films, “The VVitch” in particular, which is a fantastic film but still not better than The Blackcoat’s Daughter in my opinion. In any case, this is a great film not just a great horror film, and you’re seriously missing out if you don’t give it a watch – or three.
The film is essentially divided into two stories that progressively come together in a surprise ending. In the first, a freshman girl named Kat (Kiernan Shipka) is staying at her Catholic boarding school over winter break because her parents have failed to pick her up. Rose (Lucy Boynton), a senior, told her parents the wrong date to buy time so she could find out whether she was pregnant. They are watched by two nuns. Rose receives several phone calls from a mysterious voice she calls “Dad,” and her behavior becomes more disturbing with each phone call.
In the second story, a man named Bill (James Remar) picks up a young hitchhiker named Joan (Emma Roberts) over the objections of his wife, Linda (Lauren Holly). It’s implied Joan escaped from a hospital, but Bill believes she reminds him of his daughter, Rose, who was brutally murdered several years earlier. Bill and Linda are traveling to their daughter’s former school to lay flowers. Bill tries to emotionally connect with Joan, believing God brought them together. Joan replies that she doesn’t believe in God.
**Spoilers** At the school, Kat brutally murders Rose and the nuns, decapitates them, and offers them up to Satan in a macabre ritual in the boiler room. A police officer confronts her and fires a shot. Later, in the hospital, a priest exorcises the demon from Kat, and she sees a shadowy figure disappear. In the present, Joan (now revealed to be a grown-up Kat) kills both Bill and Holly, steals their car, and completes her journey back to the boiler room, only to find it unlit and silent.
Like No Country for Old Men (2007), The Blackcoat’s Daughter uses stark realism and little dialogue to set the tone. Not much is spoken during the 93 minute run time, and even in the climax, Kat remains eerily silent. As the police office points a gun at her and repeatedly yells to drop the knife, she quietly replies, “Hail Satan.” Unlike No Country for Old Men, music plays a prominent role in The Blackcoat’s Daughter. The score itself scratches at your reptilian brain like something from the underworld.
Kiernan Shipka, mostly known for playing Don Draper’s daughter, Sally, in Mad Men (2007-2015), adds a subtle charm to her role. Her character in The Blackcoat’s Daughter doesn’t display much emotion, and has few lines, so poise and control is where her talent shines through, especially when called upon to flash a mischievous smile. Unfortunately, she hasn’t appeared in much else recently, although she’s set to play the titular role in a reboot of Sabrina the Teenage Witch.
The Blackcoat’s Daughter suffers from the ‘Christianity is Catholic‘ trope. At least since The Exorcist (1973), horror films have associated the Catholic Church with mystery, superstition, and demonology. Even though many Protestant denominations believe in Satan and demonic possession, if the Devil appears in a movie, you know the Catholic Church will be involved. It’s not terribly distracting in this film because the director uses it so subtly, but it’s my one complaint.
As a horror film, The Blackcoat’s Daughter does everything right. A good horror movie goes beyond simplistic scares, and The Blackcoat’s Daughter uses a typical horror theme to explore the larger themes of loneliness and emotional isolation. It concludes like a dark symphony. At the end, you feel the loss Kat has for her deceased parents, the life she could have had, and the horrible crimes she committed. Now she has to deal with the consequences of her actions alone, and she finally breaks down and cries.
Top reviews from other countries
First-time director Osgood Perkins may very well have a cult classic on his hands. The dread-inducing debut is an ingeniously crafted "slow burn" horror mystery that will keep you guessing until the final chilling frame. I must admit I loved this film. It is extremely well made, beautifully shot, incredibly paced, and certainly haunting. The setting is perfect. There is a palpable aura of general creepiness and unease for most of the film and then it hits you with the true horror. It paints a dark mood that is impossible for the audience to shake off afterwards. It is a masterpiece of filmmaking with a wildly original angle coupled with steady, perfectly composed shots of a realistically desolate snowed in boarding school.
I found "The Blackcoat's Daughter" to be a very terrifying and deeply disturbing film. Not during the film so much, but in the aftermath. It is one of those films that had my mind filling in the blanks after the events, and for me, that is where the true horror comes from. Very few films can successfully do that. This is the scariest film I have seen in a long time, and I watch a lot of horror. This is one of the very few films that achieves a level of intensity that makes it uncomfortable to watch. It is insane to me that some people think it is boring. The same people that think good horror are films like "Annabelle", "Insidious" and "Paranormal Activity" and think "jump scares" are what makes a horror film "great" instead of atmosphere and themes.
What you do get is a slow, steady, meticulous horror film with surprising layers and depth. A film that respects the art of film making, as opposed to mainstream cinema's constant pandering to the lowest common denominator. This film shows what horror can be. Highly recommended.
Reviewed in Canada on October 27, 2017
First-time director Osgood Perkins may very well have a cult classic on his hands. The dread-inducing debut is an ingeniously crafted "slow burn" horror mystery that will keep you guessing until the final chilling frame. I must admit I loved this film. It is extremely well made, beautifully shot, incredibly paced, and certainly haunting. The setting is perfect. There is a palpable aura of general creepiness and unease for most of the film and then it hits you with the true horror. It paints a dark mood that is impossible for the audience to shake off afterwards. It is a masterpiece of filmmaking with a wildly original angle coupled with steady, perfectly composed shots of a realistically desolate snowed in boarding school.
I found "The Blackcoat's Daughter" to be a very terrifying and deeply disturbing film. Not during the film so much, but in the aftermath. It is one of those films that had my mind filling in the blanks after the events, and for me, that is where the true horror comes from. Very few films can successfully do that. This is the scariest film I have seen in a long time, and I watch a lot of horror. This is one of the very few films that achieves a level of intensity that makes it uncomfortable to watch. It is insane to me that some people think it is boring. The same people that think good horror are films like "Annabelle", "Insidious" and "Paranormal Activity" and think "jump scares" are what makes a horror film "great" instead of atmosphere and themes.
What you do get is a slow, steady, meticulous horror film with surprising layers and depth. A film that respects the art of film making, as opposed to mainstream cinema's constant pandering to the lowest common denominator. This film shows what horror can be. Highly recommended.