The Hallow (2015)
Directed by Corin Hardy
Deep within the darkness of secluded forest land in rural Ireland dwells an ancient evil. Feared by the nearby superstitious villagers as cursed creatures who prey upon the lost, their secrets have been kept from civilization and remain on their hallowed ground. But when a conservationist from London moves in with his wife and infant child in order to survey the land for future construction, his actions unwittingly disturb the horde of demonic forces. Alone in a remote wilderness, he must now ensure his family's survival from their relentless attacks.
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What critics compared The Hallow to
Brendan Muldowney's "The Cellar" is an adventurously melancholic representation of Irish horror much like Corin Hardy's "The Hallow" or Lee Cronin's "The Hole in the Ground."
A relatively new director, Hardy’s last credit is The Hallow, a low-budget Irish horror movie following a young family’s fight against demonic creatures skulking around their house in the woods.
Demonic nun Valak (Bonnie Aarons) first appeared in The Conjuring 2 , in scenes reprised at the beginning of The Nun. Directed by Corin Hardy ( The Hallow , 2015), the new film is set long before those events in America, and on the other side of the world, as Father Burke (Demián Bichir) is sent by the Vatican to investigate the suicide of young Sister Victoria (Charlotte Hope) at the isolated Cârta Abbey in Romania’s backwoods.
Directed by Corin Hardy (The Hallow), The Nun concerns the habit-wearing ghoul who was last seen on screen haunting Vera Farmiga’s Lorraine Warren in 1977, sending the ghostbuster ominous premonitions about the death of her husband Earl (Patrick Wilson).
Director Corin Hardy (The Hallow) also gets the atmosphere and setting right: taking place at a remote, isolated Romanian abbey in 1952, the film puffs out enough billowing fog to fill up a dozen Hammer movies and the abbey itself is a unnerving maze of twisting corridors and rooms filled with rotting relics.
El director Corin Hardy, quien debutó con The Hallow, fue una agradable sorpresa dentro del género.
Director Corin Hardy (The Hallow, and I don’t mean The Gallows) and cinematographer Maxime Alexandre are clearly intent on evoking the doom, gloom, and eerie atmosphere of a lovely old Hammer Horror production, and screenwriter Gary Dauberman seems to be actively challenging modern horror fans to settle down and enjoy a slightly more sedate piece of Gothic horror.