‘Queen of Bones’ Review: Twins Navigate a Series of Tepid Travails During the Great Depression
15.02.2024 - 02:47
/ variety.com
Dennis Harvey Film Critic Religious hysteria, family secrets and a tinge of the occult make hard times all the harder for protagonists in “Queen of Bones.” This Ontario-shot U.S. indie production is a rural gothic with echoes of both “Flowers in the Attic’s” dark YA melodrama and “Carrie’s” supernaturally vengeful coming of age.
But it lacks the bold ideas and execution to approach those stories’ impact, winding up an underwhelming if watchable exploration of familiar themes and character types. Falling Forward Films plans a theatrical release for later this year, though this mild thriller would seem likelier to find an audience in home formats.
Its title oddly prefaced by “Folktales of the Great Depression…,” as if part of a series, Michael Burgner’s screenplay has a chaptered progress whose portentous divisions (“Prologue: It Began With Blood,” “Chapter Seven: Domain of Darkness,” etc.) promise content considerably more shocking than we actually get. Lillian (Julia Butters) and Samuel (Jacob Tremblay) are 14-year-old twins living in woodsy 1931 Oregon isolation under the thumb of stern widowed father Malcolm Brass (Martin Freeman).
He seldom stops reminding them their mother died in childbirth so they might live — although eventually they’ll come to doubt that tale. Sam resents this patriarch’s heavy-handed rule, dreaming of escape.
Yet it’s devout, obedient Lily who proves the more formidable challenger to parental authority — as Pa evidently anticipates, since he’s awfully eager to send her off to a convent. (An instrument maker, he flatly turns down a musical conservatory official’s offer to enroll gifted violinist Lily.) That curious haste is reinforced by the mechanizations of Taylor Schilling as Ida May, a
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