Kattiera Nana I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Teddie Blake The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Rio Hayward All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Draconis Blackthorne Based on The Turn of The Screw by Henry James, a new governess {Valerie Bertinelli} for two children arrives at a beautiful Gothic mansion in the English countryside complete with a private lake. Although the Lord of the Manor will not be present, placing all responsibility upon her shoulders - he being a confirmed bachelor, and she a lonely young childless widow, she implores for the opportunity.Upon her arrival, she spots a face in a blackened window, then later a man on top the tower, and the same lady by the lake. She encounters former Lord of the Manor Peter Quint gazing menacingly in at her from outside a window on a Sunday morning just before church, in which she had just mentioned that The Devil 'causes obstacles for the faithful on Sundays' {the classic "Speak of The Devil and The Devil appears"}. His eyes flicker and long black hair frames a pale face, as Helen is terrified speechless.The Lady by the lake is Miss Jessel attired in a black dress in which she drowned by suicide after Quint, her lover, fell from that tower. Ms. Walker seems to be sensitive to the ghostly apparitions therein, although head maid Mrs. Grose does not believe her at first, fearing Helen may be losing her mind, yet subsequent strange events become undeniable. The children Flora and Miles steadily become possessed by these shades and set their mischievousness upon their new American governess.In the end, Emily Jessel and Peter Quint are reunited in a passionate embrace, and despite his beckoning for her to join them, Helen falls back in fright. She attends to the children to free them of the clutches of this devilish rogue, whose reputation is regarded as a monster, lecher, carouser, not only by the resident maids {whom it is assumed he took liberties with}, but also the goodly groundskeeper Barnaby, who held the opinion that "god" struck him down {perhaps a wee bit of jealousy there?}. ∞

eashmore09 Bit of a yawn I'm afraid, but then Deborah Kerr's, "THE INNOCENTS"is a hard act to follow. That has the advantage of being shot in stunning black and white for starters which I think creates an eerie, unsettling atmosphere throughout which this colour version fails to do. Yes I may have jumped at one point but at no time was there anything to send a real chill down my spine. The subtle, ghostly appearances in "THE INNOCENTS" were much more effective in achieving that in my opinion. I wish I could be more positive in my review of "The Haunting of Helen Walker" as it started well and engaged me. I was really hoping for something a bit special. I cannot fault the acting and overall production, but it just simply looked too glossy and lacked atmosphere for my liking, but at least I saw it through to the end.

TheGuyWithTheFeet Is it just me or is this almost a scene-for-scene remake of The Innocents? I know that they're both based on the same story. But dialog is similar, scenes are similar. Only thing that's not similar is that The Innocents is a high-class, beautifully shot, well-acted production. I found this one to be cheap and poorly played. Valerie Bertinelli doesn't really belong in period pieces. She doesn't have a period look. She doesn't have a period voice. Diana Rigg, however, is pretty great (as usual). She always turns in amazing performances and her Mrs. Gross is no exception. Everyone else though is lackluster and kind of boring. And, adding to the pile, it really drags. It just kind of lays there like a dead fish.

Oriel My friends have a difficult time stifling their giggles when I mention a quality film version of Henry James's classic "Turn of the Screw" starring Valerie Bertinelli, but she does quite a good job in the title role (a character altered just slightly from the novella to account for her American origins in a British cast and setting) of an altogether excellent film.Those who have seen the earlier screen treatment of this story, _The Innocents_ (with Deborah Kerr in the Bertinelli role) will enjoy this version for similar reasons, foremost among them the excellent screenplay and eerie atmosphere. The 1995 film adds effective ghostly special effects (chilling but never overdone) to heighten the spookiness, a lush location setting, and increased emphasis on the disturbingly sexual nature of the hauntings. The children may not be as sympathetic as they should be--it's difficult to believe that their natural, unpossessed state is cherubic innocence--but the young actors are convincingly creepy and sly when under the spirits' influence. Altogether the cast is wonderful, with the incomparable Diana Rigg especially effective as the housekeeper who unwillingly comes to recognize that the new governess is _not_ just imagining things. Bertinelli's devotion, fear, and ultimate determination are completely believable, and the final showdown with the evil Peter Quint is haunting indeed--it will take your breath away. This film deserves a place in every ghost story lover's video collection.