Worst case scenario for any film critic is getting to the end of a movie and being unable to decipher whether what you just watched was an instant classic or utter tosh.

That, my friends, is how I feel after sitting through Lovely Molly, a flick that at times is genuinely creepy, genuinely silly and mightily frustrating.

Directed by Eduardo Sanchez, still held up as some sort of horror guru due to his involvement in The Blair Witch Project, Molly combines straight-up scenes with that now hoary old chestnut, the camcorder footage.

A mix of haunted house chiller and demonic possession, the film centres on (unsurprisingly enough) Molly, played by Gretchen Lodge.

Molly, along with her new husband Tim (Johnny Lewis), move into the old family home after her father passes away.

That decision seems a bit strange considering we eventually learn of father-daughter incest and a basement full of bad memories, but as the script is at pains to describe how hard up the couple are we can let that slide.

Everything seems sort of OK, but with Tim being a long-distance trucker Molly finds herself alone in the house more nights than not, and, slowly but surely, her psyche begins to take a battering from forces that may or may not be real.

There are a couple of subplots involving Molly’s sister and her hubby’s romantic dalliances with a neighbour, but this is very much Lodge’s film and she runs with it.

She also spends a considerable amount of the running time totally naked, so it is a bare-all performance in more ways than one.

Lewis is fine as the frustrated partner, and there is solid support from Alexandra Holden as Molly’s sister.

As stated in my intro, there are moments in the film that are exceedingly well handled, and some early sequences of Molly and Tim creeping around a deserted house are deftly done and genuinely unnerving.

But as the bodies begin to pile up towards the end, along with an annoying twist, you are left with more questions than answers.

Lovely Molly is not a bad film by any stretch of the imagination, but you will be left wondering just what it was you just watched.


Extras: Four featurettes that dig further into the story, trailer



About The Author

Simon Fitzjohn

Simon is a journalism tutor in London, who also just happens to be a movie fanatic, with a craving for the darker side of cinema. He has written three books - on the horror films of director Bob Clark (2014), the history of the character Norman Bates (2015) and the work of British exploitation director Pete Walker (2017). He is currently working with director Richard Loncraine to explore all avenues in a bid to orchestrate the re-release of 1978 Mia Farrow chiller Full Circle