A dull British import that never lives up to the pretensions of its period setting.
| Original Score: 2/4
A lot of tension and buildup leads us to ... well, it's hard to say.
If cinema is a dream, 'The Awakening,' I suppose, has just enough oomph to keep you hitting snooze
| Original Score: C-
This stately chiller owes a lot to 1960s British flicks like "The Innocents" and "The Haunting," but unfortunately heads towards cliches with every step.
| Original Score: 2/5
It's routine stuff as horror setups go, especially if you've seen such obvious influences as The Orphanage and The Others.
The cast is anchored by two wonderful actresses: Imelda Staunton and Rebecca Hall, whose talents are squandered on this lackluster horror drama.
A ridiculous revelation and a redundant sexual assault undercut all good sense, as fierce rationality gives way to absurd contrivance and hysteria.
a ghost story that wants to be more than just a ghost story, but in the process of trying to be a movie that transcends a genre, it insults the genre
For all of its airs of refinement, "The Awakening" is pretty stale stuff.
When these sudden surprises work, as in "A Beautiful Mind" or "The Others," you're too stunned to swallow that next handful of popcorn; when they don't, you're tempted to throw your whole box at the screen.
This handsomely made spook story (love those echo-prone hallways!) becomes less involving the more the narrative's mysteries are solved.
| Original Score: 3/5
The film is full of familiar scenes of ghostly goings-on, which lead to an unshocking shock ending.
...an egregiously familiar ghost story that simply isn't able to wholeheartedly justify its existence...
| Original Score: 1.5/4
Exquisite production design and admirable performances can't overcome the lackluster scares.
There's little here to add to the well-worn haunted house genre.
You want scary? Stick to the ghost ride in Coney Island.
| Original Score: C+
When the convoluted explanation comes, it's too silly to justify the film's self-serious tone.
The movie is best when in sceptical mode. It goes astray when it essays a kind of tragic poetry along the lines of The Turn of the Screw.
Gets dafter and dafter as it progresses.