It’s a stretch to call Presence a horror film
Film review
Presence isn’t your typical horror film. In fact, it’s a stretch to call it that at all. The trailer and marketing suggest an entirely different tone to what we end up with. No, this isn’t the dread-inducing paranormal horror film we thought we were going to get from Steven Soderbergh. What we have here is a drama with a paranormal presence. The genre-diverse director doesn’t even lean into his thriller roots with this piece. What we’re presented with is actually quite boring, however, Presence manages to redeem itself by the end despite an hour’s worth of unstimulating slog.
Soderbergh captures this story entirely through the first-person perspective of a ghost. It’s an extremely interesting and exciting concept, but this alone isn’t strong enough to stand on its own two feet. An engaging story with interesting characters is still required to hook the viewer along for the ride. We remain inside the house for the duration of the film with a family who lack any intrigue. It’s pleasant to see Lucy Liu (Charlies Angels, Kill Bill) make an appearance, but the family drama we’re presented with is dire.
It later becomes clear that the family's daughter suspects the ghostly presence is a deceased friend of hers. While this revelation may not be enough to pull you into the plot, this setup eventually pays off and you’re finally rewarded with your patience in giving Soderbergh and screenwriter, David Koepp a chance to reveal their magic. The stimulation you’ve been waiting for finally begins when you’re exposed to the deeply disturbed behaviour of an individual who’s frequently invited into the family home. While this individual feels threatening, the paranormal presence lacks such aura. The way in which it manoeuvres is so smooth and somewhat benevolent that you forget you’re seeing all this through the perspective of a ghost.
Despite the introduction of a malevolent character, the events that occur don’t quite justify labelling Presence under the horror genre. However, the film’s highly effective final scene that sends your blood running cold could persuade you otherwise. It’s at this moment that you can conclude that it was all worth it. Restricting the storytelling through the perspective of a ghost will present limitations, but the execution of ambitious concepts should be celebrated even when the results aren’t perfect.
Out in UK cinemas now