Title: Don’t Be Afraid Of The Dark

Opens: August 26, 2011

If you go by the production notes, this is one of those times in which the studio had mixed feelings about being denied the PG-13 rating that it requested. Instead the MPAA slapped an R rating, which could lower box office since kids under 17 would have to accompanied by adults. Though there’s no sex in “Don’t Be Afraid of the Dark” and less violence than what would trigger an R, the MPAA allegedly considered the movie too scary for kids. This is quite the compliment for Troy Nixey, the director whose film is his first full-length job, as he has spent most of his time as an illustrator and writer of comic books like “Batman.” Scripters Guillermo del Toro and Matthew Robbins should take bows as well, though whether the movie, which scared the MPAA so much, would have the same effect on you, depends on who is seeing it. If you’re a veteran film-goer, accustomed to strange creatures like those featured in “Lord of the Rings,” your scare factor is likely to be less than that of a 10-year-old kid escorted to the movie by a responsible adult.

“Don’t Be Afraid of the Dark,” which presumably got its title from the song in the musical “Carousel,” was inspired by John Newland and Nigel McKeand’s 1973 teleplay, one which we understand frightened Guillermo del Toro sufficiently to inspire him to involve himself in this big-budget job. Filmed north of Melbourne, Australia in a huge house, the kind that serves as a character in many PBS dramas about the rich and famous, “Don’t Be Afraid of the Dark” is anchored by a stellar performance by nine-year-old Bailee Madison in the role of Sally Hurst, a role that should feature her and not Katie Holmes as the principal performer.

The story opens one hundred years ago, involving the brutal murder of his housekeeper (Edwina Richard) by Blackwood (Garry McDonald), the master of the house. We learn soon enough what motivated the killing, one executed with particular panache by the crazed tenant. Fast-forward a century as Alex Hirst (Guy Pearce), an architect, and his girlfriend Kim (Katie Holmes), seek to renovate his Rhode Island house and sell it off. More drama comes into their lives when young Sally Hirst shows up, sent by her mother in L.A. for an extended stay. Sally is cold to Kim, who seeks mightily to befriend her and, in fact, the young girl is not too eager to stay in the huge house in a big bed separated by a football field from her dad’s. When Sally hears voices in a basement that’s not supposed even to exist, she becomes increasingly frightened, though the adults of course believe she is having bad dreams. We know the history of the demons in the basement, but only Sally and the mysterious groundskeeper, Mr. Harris (Jack Thompson), believe them to exist. Because the demons seek children, Sally’s presence awakens them to sets them to plotting the little girl’s demise.

As in many horror films—and, by the way, purists allow the term “horror film” to be used not for simple slasher pics but demand that supernatural creatures must be cast—the little monsters take their time to show their ugly faces. When they do, first one, then another scurrying through the openings in the basement gate, then a flood, Marco Beltami and Buck Sanders’ excellent music kicks into high gear as Sally, confronted by the uglies in her bubble bath, in her bedroom, and at the dining table (still no adults have seen them), snaps Polaroid pictures, the flash frightening the creatures for a moment but not serving as evidence for the adults.

For some, the big test of the quality of a horror movie is: were you scared? Still, as the production notes state, what’s of prime importance is psychological development of the human characters. We do get to believe in the characters of the workaholic father, who loves the girl, and the g.f. who is trying her best to bond with her. For credibility, consider also little Bailee Madison’s likeness to Katie Holmes. One might swear that they are from the same family: it’s uncanny. Bailee Madison is the person to watch in this movie, meaning that whether you’re scared or not—and if you’re an adult who is familiar with these type of work you won’t particularly be—you may be intrigued more by the interplay of the human folks than by the pitter-patter of the generic monsters.

Rated R. 99 minutes. (c) 2011 by Harvey Karten Member: NY Film Critics Online

Overall : B