Fancy a bit of kiddie Frankenstein horror set deep within the English countryside? David Keating’s homage to Hammer horror, Wake Wood (a UK and Irish co-production by Hammer Films), has a curious and often bewildering plot: The parents of a nine-year-old girl killed by a savage dog are given three days with their deceased daughter to say a proper goodbye. Naturally, a primary rule is broken that results in an uncontrollable terror that only the parents can help stop – and a line of wind turbines.
With a touch of Tim Burton’s Frankenweenie to it – only this time it’s a child not a hound, Wake Wood is a pleasing and proudly distasteful response to fans wanting a long-awaited, new fix of Hammer exploitation, expect with a virgin sacrifice of a different kind. All the Hammer trademarks hold, including English eccentricities, hammy acting (Timothy Spall as the ominous, oddball local leader, in particular), distrust of countryside, fear of the Occult, mysterious and restrictive ancient practices, plus those vital ingredients of gallons of blood, guts and gore.
Thankfully, this 21st Century resurrection does not do away with the grainy, gloomy, Gothic aesthetic, choppy editing and disjointedly filmed snuff scenes of previous classics – in sharp contrast to another recent Hammer release, the slick-looking The Resident. If low-budget horror is the key, Wake Wood has it in spades. As is always the case with the genre, there are many confusing elements that are left unexplained, or visually jarring sequences with no obvious resolution. The strangest is the ending that allows one life to flourish in the most incredulous manner. But suspension of reality is paramount for the Hammer brand to work, and for those familiar with past films, the completely muddled result is quite a satisfactorily quaint and remorseless one.
It’s also interesting to have a child terror this time, instead of an adult one, and although this film does not have any iconic characters that will be remembered long after its release, like Hammer’s Frankenstein, Dracula and Dr. Jekyll and Mr Hyde, it does give nods to their ideals, within a contemporary framework. And no Hammer rebirth would be complete without a strange Pagan-style ritual; the one in this film involves livestock, fire and brimstone. So, it’s actually quite biblical, in a sense, as the wrath of God is felt for meddling with nature.
OVERALL SUMMARY
Wake Wood’s faults are also its strengths, and in comparison to horror productions nowadays, it’s virtually impossible to pass criticism on its technicalities because they are unique. But its dated feel may not sell as well in this day and age as a true horror offering often needs a powerful psychological element for full, creepy effect. Keating’s faithful creation, with all good intentions, may be received as more of a camp throwback that raises more giggles than shocks – gritty, bloodthirsty dog attack aside that will upset some. That said nostalgic Hammer is most definitely back.
