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The synopsis of Haunter gives you facts that lead you quite a bit of the way into the story:
The ghost of a teenager who died years ago reaches out to the land of the living in order to save someone from suffering her same fate.
Given that as a starting point one would hope that there are layers to this tale, and those who share that hope will not walk away from this film disappointed. For while the comparisons that Haunter has drawn to both The Sixth Sense and Groundhog Day are not unwarranted, there is more at play here and a very intriguing myth being built after all.
The film’s cinematography has great panache and sets the tone throughout, the camera wanders through the world of the story and takes different vantage points on its early-stage déjà vu scenes.
For each of the characters within the story, be they live or be they dead, there is a moment of discovery. Our protagonist Lisa (Extremely well portrayed by Abigail Breslin) is the first to have such a discovery, and, as such, it is through her eyes that we experience this film and start to uncoil the mysteries therein.
One such mystery is what the exact nature of The Pale Man (Chillingly rendered by Stephen McHattie) be he natural or supernatural. As the myth starts to build and the pieces start to fall in place there are surprises in store and there are very intricately transgressed borders between the states of being. The way this handled allows there to continue to be a sense of mystery to the film.
While there is a slight leaden quality to pace towards the tale end of Act II, the conclusion is ultimately quite satisfying as the investment we as an audience have been asked to make in these characters is a fruitful one. Their fates are something that become a concern, and as those who have passed come to the realization that they are past more details fall into place.
Furthermore, the family dynamics, the fulcrum of the dramatic element of the tale changes and we see why. These moderations, these tones and notes would not hit home as well without contributions from the whole cast be it Peter Outerbridge, who has to be a source of empathy and fear, grief-stricken and terrifying; Sarah Manninen whom runs the gamut from TV playing a role to scared victim to knowing realist; or Peter Da Cunha (whose specific echo is one of the key indicators of the film) who plays a soft-spoken, sunny child who is resigned to a cautious fear, and also ultimately terrified.
Despite whatever superficial similarities this film bears to other more famous works, and I thought of a few others myself, the narrative fabric this film weaves is wholly its one and a great one to look at and get lost in. This is a fantastic horror film that melds a few different subgrenre approaches and should be one you look out for whenever you need another horror fix.