As a seasoned movie critic who has traversed through the labyrinth of cinema for decades, I must say that “Hold Your Breath” is a film that leaves a lasting impression, albeit not always for the right reasons. This gothic horror-meets-Dust Bowl tale, directed by the duo Karrie Crouse and Will Joines, attempts to weave together various threads of suspense and terror, but unfortunately, the result is a somewhat scattered experience.
In “Hold Your Breath,” directed by duo Karrie Crouse and Will Joines, the boundaries of gothic horror intertwine with the vast American Dust Bowl landscape. The movie attempts to deliver too much, stretching for numerous sources to create suspense and terror, which often results in a disjointed viewing experience. Nevertheless, it exhibits a few commendable aspects. Firstly, it offers several nerve-wracking scenes. Secondly, it skillfully portrays an atmosphere of fear revolving around illness, echoing the recent COVID-19 pandemic. Although these elements eventually dissipate, Sarah Paulson‘s compelling lead performance remains constant throughout, demonstrating once more her indispensable role in horror films. Her three-year absence from the genre seems too prolonged, even if a stronger return is warranted.
1933 finds Margaret (Paulson), a mother of three, in the Oklahoma panhandle where dust storms are relentless and destructive. With her husband working on bridges elsewhere, she’s left to care for her teenage daughter Rose (Amiah Miller) and her adolescent daughter Ollie (Alona Jane Robbins). Sadness and fear hang heavy in the air as a third child has recently passed away due to illness. The film’s muted color scheme mirrors this despair, casting a pall over every scene. Dust, an ever-present menace, settles on everything and slips through cracks to invade their home. Close-up shots of light glinting off tiny grains of dust and Paulson’s anxious expressions create a sense of unease that permeates the quieter moments.
However, the movie “Hold Your Breath” can be quite noisy, and while its loudest parts benefit from the contrast against the previously mentioned quiet moments, it overuses abrupt sounds to create tension. At first, Margaret’s dreams of greenery being interrupted by sudden storms, complete with Paulson’s shrieks and the howling wind, are startling. However, the movie repeatedly employs this technique, eventually making it feel repetitive and formulaic. After a while, what was once scary or unsettling becomes more irritating and predictable.
The movie introduces a small, isolated rural town and their peculiar customs, such as tying ropes to their doors for guidance during storms that obstruct vision. Meanwhile, Margaret’s daughters get engrossed in an eerie fairy tale about the Grey Man, a mysterious figure who enters homes like dust and drives people to commit terrible acts. At the same time, there are subtle indications of Margaret’s health issues following her daughter’s demise several years ago. Now, she relies on medication to control her sleepwalking and potentially harmful actions.
As a movie enthusiast, it’s not rocket science to figure out that the Grey Man stirs up some chilling apprehensions for Margaret, given the film’s contemporary unease revolving around health issues, with characters donning masks for protection. It’s also evident from her past what part she might play in this tale. However, the narrative takes quite a few unexpected turns, keeping the story spinning its wheels for quite some time before finally diving into its most delightfully cheesy aspects. Paulson is a joy to watch, even when the rest of the movie falls short.
In addition to the ongoing storyline, whispers about a menacing local vagabond suspected of murder coincide with the appearance of a mysterious preacher (Ebon Moss-Bachrach) at Margaret’s home, who claims familiarity with her husband and seems to possess unusual abilities. Moss-Bachrach skillfully navigates between offering solace and raising suspicion, fueled by the girls’ apprehensions about their bedtime tale (could this be the Grey Man disguised as a man?). However, this side plot appears somewhat forced within “Hold Your Breath,” seeming more appropriate for a different film. The narrative progresses swiftly from one scenario to another, but the pacing leaves room for more significant events to unfold amidst this rapid development.
The movie ultimately returns to its core story of a mourning mother trying to shield her children from a harsh reality – and from herself. Yet, when it reveals its scariest concepts (these being the most personal), it hasn’t gathered enough momentum for them to make the powerful impact they should.
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2024-09-15 12:16