Eduardo Sanchez had a significant debut into the horror film world with his groundbreaking Blair Witch Project, and continues plugging along in the genre, most recently with Lovely Molly, a film that is part psychological thriller, part possession story.
The film revolves around young Molly (Gretchen Lodge), recently married to Tim (Johnny Lewis), and living in her childhood home in rural Maryland. Both of her parents are years dead (there are hints of a difficult childhood) and Molly's sister Hannah (Alexandra Holden) is nearly the only family she has left.
Things begin to get creepy from the get go in standard haunted house fashion. The burglar alarm goes off in the night, and the young couple discovers an open back door that Tim swears he had locked the night before. After that, the eeriness begins to intensify. Tim is a truck driver, and so Molly is left home alone for long stretches in the enormous, old house. Soon enough, she starts to hear mumbled voices calling her name. The old folk song Lovely Molly is heard about the house, along with footsteps and rattling doors. It's revealed that Molly had gotten past drug addiction and serious mental health issues earlier in her life, or perhaps she hadn't gotten over them as much as everyone thought.
As the film goes on, we learn more and more about Molly's troubled past, see a few dark hints and strange symbols carved into a pit in the shed, and watch as the young woman slowly unravels. Tim and Hannah grow more and more concerned, even enlisting the help of Pastor Bobby (Field Blauvelt) to counsel her, but Molly barely seems to notice, flipping back and forth between terrified desperation and seductive malignity. As any student of horror films could tell you, things do not go well.
The film itself is well made. The mostly practical sets, particularly the old farmhouse, are appropriately creepy and lived in. The performances are also strong, with Gretchen Lodge leading the way with gusto. She is by turns sweet and fresh faced, manic and terrified, sultry and wanton, and coldly cruel, with nary a false step. But what makes Lovely Molly work, and it mostly does work, is the sustained feeling of dread that is maintained throughout. A sense of deep malevolence and power pervades the house, and Sanchez chooses well when he gives only hints as to its origins, even if that leads to a bit of frustrated curiosity. An appropriate number of jump scares are present, but inserted as if only because they are expected, or as a change of pace. The miasma of disquiet is more than enough to hold the attention of horror fans, and the gore and blood effects, though restrained, are very good.
As stated, Lovely Molly mostly works, but not entirely so. There are a few less than stellar accents presented, and the pace drags just a bit at times, but these are mostly small quibbles. Probably the biggest criticism that can be leveled is that the story doesn't quite hold together as a whole, and there is no really emotionally satisfying ending, though with horror films that's what some prefer. Regardless, Lovely Molly hits a lot of right notes, and is certainly frightening enough. Recommended.
Path to Madness, Haunted Past and Demonic Forces
Is It Real
Commentary with Director / Co-Writer Eduardo Sanchez and Co-Writer Jamie Nash