She Will

Boring rubbish that was dull such a waist of some great actor's.

Visually appealing and surprisingly layered for a horror film. The maiden and the crone, revenge and redemption. Although I love Clint Mansell's music, I think it was somewhat heavy-handed and overpowered scenes that already had enough substance and intensity. That said, it's still a good film and I'd definitely recommend it to someone who enjoys subtle, thought provoking horror.

Beautiful, unsettling cinematography and soundtrack. Some scenes feel more art installation than a film

I find some of the more glowing reviews hilarious. May appeal to second year film students who think this is somehow ‘high art'. The reality is it's pretentious twaddle masquerading as something it isn't. Swerve.

Gave it try for about half of the movie, then I just completely lost interest. Nothing scary about it, the build it never happened and I could not take it anymore. Sorry, don't t recommend this movie at all.

I thought that it was Satanic rubbish. Graphene ( black Goo ) checkerboard floor ( Masonic ) and loads of other references to Satanic practices, the all seeing eye etc. So dark both in tone and image that one could hardly see it, Some of the acting was impressive. Turgid nonsense you can do better than this Globalists.

yes the acting was great and yes the filming was strong but really? this movie was dreadful. no plot to speak of or development. weird without a solid story. i felt i wasted my time and nearly left. stayed on just to see what would happen - and because of the good reviews. but left disappointed.

The Saint Maud vibe that attracted me to Charlotte Colbert's directorial debut turns out to be rather misleading even though the story does lend itself to such comparisons, as it revolves around Alice Krige's aging actress, Veronica, who after a double mastectomy, heads to Scotland with her young nurse, newcomer Kota Eberhardt's Desi, for a stint of healing at a resort built in the woods with a terribly dark history. Meanwhile, Malcolm McDowell pops in for a few days' work as the director who discovered Veronica back when she was a teenager who's now casting her replacement in a remake/sequel of the classic film they made together decades ago. As a #MeToo-tinged supernatural horror story, it's certainly topical but sadly not particularly scary, despite Colbert's suitably eerie visual imageries that centred mostly on nature and creeping mud. Otherwise, it comes across as a slight and predictable film which I find substantively and aesthetically both repetitive and insipid. It doesn't help that, either in a moment of madness or for reasons I can only speculate as a misguided attempt to inject levity here, we get a group of unfunny stereotypes headed by Rupert Everett who looks like he's been upholstered instead of costumed, and this tonally awkward subplot ultimately dissolves into dreary pointlessness. Despite solidly good central performances from Krige and Eberhardt, I find the way the film develops their relationship so patchy and unconvincing, the big finale that's supposed to be victorious and satisfying ends up feeling like a compromised cop-out as it fizzles into weightlessness. It's not a good sign when the only things I remember afterwards is that lush train ride up to Scotland and a disco/bar that shows slug-porn. Even if she will, I think I won't.

Beautiful film, an excellent refreshing take on witches for a new century.

not quite sure what was going on there. maybe im not smart enough to interpret the subtle plot development. i think it was about healing properties of hallowed ground due to witches killed centuries before.