The Woman in the Yard Review: Jaume Collet-Serra Returns to Horror with a Chilling, Intense Experience

      While horror films are a significant aspect of this writer's interest in cinema, there's been a rising sense of personal disdain for the genre. This sentiment arises not only from the overwhelming presence of both high and low-budget films saturating the market, but also from the self-aware tendencies of Gen X and Millennial genre enthusiasts who are now creating these films and subsequently stressing over the need for "metaphor" following the success of Get Out. Therefore, when a new horror film is not just decent but genuinely frightening and suspenseful, it's a reason to celebrate. Such is the case with the unassuming film The Woman in the Yard.

      In this film, cinephiles may find interest in the return of once-prominent director Jaume Collet-Serra, known for Orphan. However, this low-stakes PG-13 horror movie is unlikely to generate much expectation from others. This makes it a delightful surprise and a reassuring reminder that Collet-Serra's talents haven't diminished amidst his recent work on numerous Dwayne Johnson blockbusters.

      The film's premise isn't entirely fresh; a death looms over a family, compelling them to unite and heal amid supernatural turmoil. Ramona (Danielle Deadwyler) is dealing with the loss of the family patriarch (Russell Hornsby), who had effectively forced the family to relocate from the city to a rural farmhouse. While navigating a dilapidated house devoid of food or electricity, Ramona must care for her two children: the hot-headed teenager Taylor (Peyton Jackson) and the timid Annie (Estella Kahiha). The opening scenes contain some awkward dialogue, yet I felt every moment of the pervasive tension and silence enveloping the mourning family abode, thanks to the director’s careful pacing and adeptness with young actors.

      As electricity remains absent on this tense day, the situation worsens when a solitary woman (Okwui Okpokwasili) draped in a black veil appears in their expansive yard. Delivering cryptic warnings related to Ramona’s past, her unsettling presence induces paranoia and madness within the home without her needing to raise a finger. Her appearance in broad daylight adds an extra layer of creepiness that resonates more than much recent horror imagery.

      Utilizing wide-angle lenses, digitally-assisted camera movements, master shot strategies, and every imaginable opportunity for rack focus, Collet-Serra maximizes what could have been a stage play with just a few minor tweaks. Even the obligatory jump scares are executed so expertly that they elicit a response without leaving you feeling cheated. The director's style is further enhanced by his cast; Deadwyler’s expressive eyes and Okpokwasili’s striking cheekbones cast a captivating spell, complemented by occasional CGI expressionism.

      However, the real triumph of The Woman in the Yard lies in its commitment to its core. I found myself anxious that the film would falter by revealing its supernatural premise. While the metaphor becomes fairly evident by the conclusion and slightly elongates the third act, the dreadful twist I feared never actually materialized. Perhaps the film isn’t entirely profound regarding its themes, but it steadfastly adheres to the notion that emotional resonance should be conveyed through form rather than explicit explanation.

      The Woman in the Yard is currently showing in theaters.