GHOSTS OF WAR ½
2020, R, 95 mins.
Brenton Thwaites as Chris / Theo Rossi as Kirk / Skylar Astin as Eugene / Kyle Gallner as Tappert / Alan Ritchson as Butchie
Written and directed by Eric Bress
love a solid genre mishmash as much as the next, and the one proposed by
director Eric Bress (THE BUTTERFLY
EFFECT) is an intriguing one, to be sure, in GHOSTS WAR.
The film builds up an awful lot of initial promise as a World War
II, men-on-a-mission flick crossed with an haunted house supernatural
There have been recent examples of films melding fact and horror
fiction (like the superbly underrated zombie-fuelled OVERLORD),
but the notion of PTSD-ravaged soldiers having to deal with all sorts of
paranormal phenomenon in a possessed chateau while on a tour of duty
is certainly novel.
Unfortunately, GHOSTS OF WAR sort of wastes the freshness of its
genre hodgepodge with too much generic jump scare thrills that devolves
into one of the most incredulous plot twisty third acts of recent memory.
You'll either love or hate, and I found myself occupying a place
film opens in mid-1940s Nazi occupied France as we are introduced to a
group of roughed and rugged American soldiers that have been tasked with
seeking out, securing and defending a private country home that was once
used by the Germans as a remote HQ.
The battle hardened men - comprised of Lt. Goodson (Brenton
Thwaites), Eugene (Skylar Austin), Butchie (Alan Ritchson), Kirk (Theo
Rossi) and Tappert (Kyle Gallner) - are all cut from the same obligatory
war hero stock types that we've seen in countless other films before
(the quiet and reserved one, the hot headed loose cannon with an itchy
trigger finger, the hulking brute, and so forth), but the five actors in
question bring a certain level of natural on-screen camaraderie that helps
elevate their respective character's lack of development.
The team dynamic is set-up during a well crafted early sequence
involving them confronting a captured alive Nazi prisoner, who one of them
demands to engage with him in a good old fashioned fist fight to prove
Goodson, the de facto leader of the group, decides to shoot the
solider violently and quickly in the head to end the stalemate, seeing as
he's a pragmatist that doesn't like to waste time...on top of having a
sadistic streak, to be sure.
these men have clearly gone through proverbial hell on the bloody
battlefronts, which leads to them believing that the relatively simple
recon and holding of the aforementioned chateau to be a walk in the park
for all of them, not to mention that the possibility for a bit of easy-going
R&R is alluring.
When they arrive at the home something just seems eerily off from
the onset, and the team's first night is typified by multiple strange
occurrences, like doors spontaneously opening, creepy footsteps not their
own heard in odd places, and so on.
That, and they discover journals left by the original residents
(who saved runaway Jews) that seems to tip off all of their horrible
deaths at the hands of Nazis.
Stranger things start to rear their ugly heads, like ominous
symbols plastered everywhere in the attic, which alludes towards the Nazi
intruders doing some unendingly cruel things to the home's original
Predictably, ghosts start making their appearance, which prompts
the men to want to flee the home immediately, but then a squad of vengeful
Nazis show up to complicate things and stymie their efforts.
Goodson and company find themselves dealing with a whole other
ghastly double threat that they've never experienced in war before.
I liked the basic premise of GHOSTS OF WAR, and the opening sections hint
at some retrograde, B-movie thrills and scares to be had moving forward
(blending supernatural with a period setting is hardly new, but the hook
of Bress' film has its own brand of distinctiveness).
The story manages to get inside the already fragile and traumatized
headspaces of these soldiers that have seen many a hellish sight, which makes the prospect of having their sanity tested even further
with a haunted house all the more unnerving (they're fighting mental
demons as well as literal ones here).
GHOSTS OF WAR may not be an expensive production, but it
nevertheless looks quite good throughout, especially for the way
cinematographer Lorenzo Senatore creates great environmental tension with
framing the terrified soldiers within the deeply unsettling surroundings
of the home's dark and twisted interiors.
The idea of what's lurking around these dark corridors and hallways
is arguably more terrifying than the ghosts themselves when they appear,
making the house a dreary antagonist in its own right.
GHOSTS OF WAR is dripping with a reasonable amount of nail-biting
atmosphere and sensation of dread, not to mention that some of the
individual action beats - like the mid-section one featuring the soldiers
defending the spooky home from fifty-plus Nazi invaders - are well oiled
and pack a solid, brain splattering potency.
though, the largest issue plaguing GHOSTS OF WARS is the titular enemies
The artistic conception of these would-be scary apparitions are not
particularly inspired and seemed cannibalized from the look of countless
ghosts from other horror films (they're monochromatic, sport devilish faces,
and screech at ear piercing and heart stopping levels).
Another nagging problem is this film's slavish reliance on jump
scare with these ghosts, and after a few decently orchestrated
"boo!" moments to get viewers feeling ill at ease, Bress keeps
methodically regurgitating these instances to the point where you can
predict with reasonable accuracy when they're going to occur again.
Added on to that is the film's adherence to the mostly overused haunted house conventions in the
genre playbook and what we're basically left with is an inconsistent - at
best - fright fest that never fully capitalizes on its nifty premise.
speaking of premise and payoff, GHOSTS OF WAR ends up displaying little
confidence in the strength of the former for carrying the entirety of the
film, which builds towards, as referenced, a plot twist late in the game
that all but undoes everything that has transpired building up to it.
I don't want to get into specifics because that would easily
straddle spoiler territory, but the final act revelations presented here
desperately want to shake things up and make viewers re-evaluate the
entire story and the characters' predicament, but it never once feels
justified or earned in the slightest.
GHOSTS OF WAR could have agreeably coasted by as a simple
horror/war film with modestly engaging grindhouse sensibilities, but Bress
really fumbles the ball with this potential less is more approach.
Let's just say that he takes the absolutely most complicated route
of explaining the reasons behind the spirits tormenting the home and
soldiers when a very economical "the house is haunted and the
soldiers have to face it" narrative solution would have just
Some may find the out-of-left-field story developments here as clever,
whereas I got a headache from all of the eye rolling just thinking about
It's all too bad, because the fine actors here bring their A-game (albeit, with weakly drawn roles driven on screenplay autopilot), and the film is well shot and boasts stellar production values, but the sum of those few good elements don't make for a successful or satisfying whole at all. Roughly half of GHOSTS OF WAR works with reasonable competence, and I dug the core idea of blending WWII trauma with unexplainable specters unleashing a whole other type of nightmare on soldiers, but the follow through on this is simply too overly convoluted and feels unnecessarily tacked on. Edit out the final 20-30 minutes and re-write and shoot the ending and we might have had something with GHOSTS OF WAR. Alas, if you want to watch a horror film that builds up faith in viewers early on and then crushes that good will with preposterous last minute twists that will anger more than blow minds, then seek this one out.