Ghosts Of The Ozarks (2021) Review

In 1860s Arkansas, Doctor James McCune (Thomas Hobson) is on his way to join his uncle in the remote, walled town of Norfork. Stopping to camp for the night, he is accosted by a stranger but his attacker is plucked from the night by an unseen force as a red mist descends on the area. Reaching his destination, James finds what at first seems to be a utopian paradise of a settlement, free of racial tensions. However, Uncle Matthew (Phil Morris) warns his nephew of the ghosts lurking outside the wooden defences for those who stray…

Made by 12 Hour Shift Productions, Ghosts Of The Ozarks shares plenty of the creative talent on both sides of the camera and so the initial post-credits reaction was one of disappointment that this never hit the delirious, gorily comic heights of Brea Grant’s hospital-set crime caper. Take a step back, however, and the merits of this movie show through. This may be a more serious piece and the blend of its Western trappings with recognisable folk horror touchstones may feel a touch awkward on occasion but what really carries the whole exercise are the accomplished performances from an undeniably talented cast.

It’s a slow burn and then some, more interested with building its characters and their interactions then dealing in regular shocks. In fact, there are long stretches of the story in which the terror takes a back seat to the daily business of the townsfolk, which include blind innkeeper Torb (Tim Blake Nelson), his wife Lucille (Angela Bettis), avuncular tailor Douglas (David Arquette) and whip-smart hunter Annie (Tara Perry, who also co-wrote).

That’s not to say that the tale ever totally loses sight of its central premise but the occasional reminder of the bloody fate awaiting anyone who steps into the unknown may not be enough to satisfy those looking for sustained chills. The relationships between the main protagonists are well drawn and entertaining but it’s approaching the 80 minute mark of a 106 minute movie before the mystery is dealt with in any substantial way.

And here is the second, potentially major issue with Ghosts Of The Ozarks. The reveal, although perfectly in keeping with James’ initial encounter in the wilderness and logical to a fault, seems somehow anticlimactic and flirts with downright daftness. Even so, it’s played with conviction and it’s pleasing to see something that doesn’t drop a lazy, doomy, open ending on its audience. There’s a clear resolution and even a little hope as the credits roll.

The horror Western is often a neglected subgenre and this is unlikely to lodge in the memory as the best example of such a crossover but I found it rather fun to spend time with the folks of Norfork, which is in no small part down to the terrific acting talent involved. Angela Bettis and Tim Blake Nelson are, as expected, brilliant and they also get to sing “On This Mountain”, a wonderfully evocative musical number which gets a welcome encore during the end titles.

Stealing the film, at least for me anyway, is David Arquette, who brings warmth, humour and vulnerability to his role, eager to make James welcome, offering sartorial tips and revealing his passion for photography. It’s also clear that he’s something of an outsider himself even though he’s a valued member of the community and his suspicion concerning the spate of ghost-related incidents may prove to be his undoing.

In fact, there’s not a performance in Ghosts Of The Ozarks that’s even hinting at anything less than impressive. Hobson is an attractive lead and even though there’s a predictable darkness in his character’s past, he’s a graciously ordinary hero in the best sense. James’ relationship with Annie is nicely underplayed and his generally taking second place in the arse kicking stakes may not be the most unique of plot flips but it’s fun nonetheless. I’m unsure if Tara Perry the writer gave Tara Perry the performer some of the most resonant story beats but, to be fair, she deserves them.

Directors Matt Glass and Jordan Wayne Long have crafted a convincing picture of an alluring post-Civil War settlement, the detail is rich and the character definitions deep but the long wait between scares, an unexpectedly low level of tension and the grab bag of folk horror iconography which serves as the climax serves to work against all the positives in the most frustrating way possible. In many ways it’s fascinating, but it’s also profoundly flawed.

Signature Entertainment present Ghosts of the Ozarks on Digital Platforms 23rd May

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