Winchester struggles from the moment it starts. It can’t decide if wants to be a Gothic horror, a modern horror, a romantic supernatural, or a true history movie. Given the guts and clarity of vision of the Spierig brothers previous Predestination, the vacillation and lack of control were surprising.
It isn’t a complete loss. There is a good story at the core of it all, but it takes more than half the film for it to come into focus and, by that point, you just want it all to resolve. There are some good scares; even the utterly predictable ones will get you to jump. Certainly it has some great production values and a heck of a cast.
Part of the story focus issues may well have been because of Helen Mirren (Collateral Beauty), who was certainly the name-draw for the film. But while her story wants to dominate the film, it is really just the McGuffin to Jason Clarke’s (Mudbound) journey. Clarke, however, doesn’t have the same level of presence nor familiarity for audiences; his efforts seem to constantly take a back-seat to the rest of Mirren’s efforts, even when they really aren’t.
Sarah Snook (Steve Jobs) and Eamon Farren (Twin Peaks) round out the important characters, each with their own sense of oddity. Neither gets to develop their character much, but neither feels unformed either.
The Winchester house is a fascinating study in guilt. Unlike the Nobel family, Winchester simply pushed away the ill gotten gains rather than trying to have it do good in the world. Unless, of course, you believe this film. In any event, there are some clever ideas and weaving in of real history. It isn’t a great movie, but does have some nice visuals and a number of good scares. Frankly, though, unless you’re a Mirren complete-ist or hooked on one of the other actors, go watch something else to get your heart pumping.