It’s always a shame when a movie based in reality ends up being less interesting than the actual events. Such is the case with Michael and Peter Spierig’s Winchester, a film that takes the bizarre true story of Sarah Winchester and the Winchester Mystery House and turns it into a run-of-the-mill haunted house picture that seems to only exist to cash-in on the success of better movies like The Conjuring or Insidious.
Dame Helen Mirren inexplicably plays the title role of Sarah Winchester, the widowed heiress to the fortune accrued by the sales of Winchester rifles. Convinced that her family is cursed by the spirits of all who have been killed by those guns, Lady Winchester now spends all her time constructing new rooms in her elaborate mansion to keep the more violent ghosts locked away. Construction on the house is occurring at all times, with new rooms being ordered based on the trance-like visions that come to Sarah each night. This means that Oscar-winner Helen Mirren spends a significant amount of the feature flailing around, rolling her eyes, and yelling into the air as she converses with the ghosts around her. I have to assume that Mirren either needed the money or just wanted an excuse to come to Australia to agree to this role, as while her sheer presence is almost enough to elevate some scenes beyond the flatness of the script I could almost see her stop trying as the supernatural elements overpower any sense of character. Fortunately she spends most of her time draped in a black veil so could presumably palm things off to her stand-in when she couldn’t be bothered.
The job of trying to add in an emotional story instead falls to psychiatrist Eric Price (Jason Clarke), who has resorted to poisoning himself with both alcohol and actual poison after being injured in an incident that also took the life of his wife. Doctor Price is bought in by the Winchester company to assess Sarah’s mental health and determine whether or not she should remain majority owner, and as a rationalist remains completely unconvinced of the presence of ghosts throughout the house. This scepticism is hard enough to accept when he sees a ghost after roughly half an hour in the house, and becomes frankly absurd after he brushes off the fourth decayed face screaming at him before vanishing into thin air. I’ll admit that one or two of these ghoulish jump-scares startled me, but in much the same way a carnival ghost-train is capable of making me jump. There was no lasting tension or suspense, and instead of feeling spooked on my walk home in the dark I was just frustrated by how inconsistent the spectres of Winchester are. They’re locked away in certain rooms – except for when they appear out of nowhere. They want revenge on Lady Winchester – except when they don’t. Certain characters can see them – except for when they turn invisible. At no point does it seem like the Spierig brothers actually knew what they wanted to do with this film, instead just relying on what they’d seen done before.
It’s infuriating as they had enough pieces to make something great; with an interesting real-life premise, stunning production design on the house from Matthew Putland, and an interesting role for their talented leading lady; but no idea of how to properly use any of them. The real Winchester Mystery House has over one hundred rooms yet here we only see about a dozen, possibly because the budget was too low to afford any more. I was surprised when Winchester got to its climax if only because I didn’t think anything had actually happened and assumed we still had about an hour to go, but was more than happy for things to wrap themselves up by that point.
1 and a half stars.