Wake Wood

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Wake Wood is somewhat of a downer. There have been quite a few horror films in recent years dealing with how parents cope after the death of a child, some dealing with the psychological trauma, others taking a more visceral approach following the lengths some parents will go to either to get on with their lives or bring their child back. It’s a tradition going back most famously to Pet Sematary, but naturally it’s a fear as old as time with numerous fairy tales, myths, and stories from antiquity using this unimaginable tragedy and the associated grief as a starting point. Wake Wood lies somewhere in between the visceral and the psychological, not truly succeeding at either, but not truly failing either.

Make no mistake – Wake Wood is a Serious Horror Film – Caps all the way. It wants to hurt, and it wants to remind you of folksy tales like The Wicker Man and drama like Don’t Look Now. It doesn’t have the money or the directing chops of either of those, but it also doesn’t want to scrimp on the gore. It’s difficult to see who the film is really for then because, while plenty of people will want to see a film like this if you heavily market it towards one crowd they’re likely going to be pissed of by the blood or by the artistry. As mentioned – the artistry is more akin to someone just learning the ropes by mimicking their forefathers, while the blood is limited by budget and, well, good taste.

We open with the fairly upsetting mauling of a child by a dog – the girl, Alice, does not survive. Her mother and father – Louise and Patrick – move to a rural village called Wakewood and try to get on with their lives. The people of Wakewood seem friendly enough, though like any of these off the grid towns, there’s something a little off about them. Turns out they have a history of resurrecting the dead via a ritual with a series of rules. This is where some of the more interesting parts of the film come in, hinting at a sprawling history. There are various ancient trinkets and tools and rules employed, but they’re not really discussed or explained. These sorts of things are always interesting to me and I’d like to have known more about their purpose or origin. The main guts of the rules are straightforward enough – to raise the dead, you need another corpse. The person you want to raise must have been dead for less than a year. The person can only return for three days, and the person cannot go beyond the borders of the town. Naturally, as Patrick and Louise makes their decision, each of these rules comes in to play.

Everything about the film is cold, sullen, the muddy brown of a forgotten English graveyard – the performances (featuring Aidan Gillen and Timothy Spall), the direction, the look of the thing right down to the costumes. It’s mournful and bleak, even in its happiest moments and anyone looking for a slice of quirky horror or a hint of joy should shuffle by. It’s not without it’s charms – watching it reminded me of many a gloomy painting or Doom Metal album cover. It’s played out with conviction and its sense of grit and foreboding feels real – if there is a town out there which can bring people back from the dead, this certainly feels like it – insular, brow-beaten, and with the look of a tweed clothed farmer nonchalantly pistoning a bolt through a bull’s skull.

Let us know in the comments what you thought of Wake Wood!

Ocean Spray

Generic Ratings: 1: Crap. 2: Okay. 3: Good. 4: Great

It takes a lot for a song to remain unique given the vastness of Know Your Enemy, but this one works and was strong enough to be a single too. Bradfield writes the lyrics to this one (for those who don’t know the band – 98% of the time Wire and Edwards write the lyrics and Bradfield and Moore write the music), a dedication to his mother who had just died, and ironically a more simple, more potent lyric than much of what Wire was able to write at the time. In the midst of all the political pissing and name-checking elsewhere on the album, this one reads like a very simple poem, rhyming words and all! Musically, it is terribly sad thanks to Bradfield’s tearjerking melodies plastered and drifting over easy listening acoustic guitars, Moore’s lonesome horn, and the occasional blast of electric in the chorus. There is anger and sadness here, regret and turmoil, and even some Japanese.

Misheard Lyrics: Oh, please stay away

Actual Lyrics: Oh, please stay awake

Ocean Spray: 4/Great