‘Asteroid City’ Review: Wes Anderson’s Cosmic Grief Comedy Is One of His Very Best Movies Yetīased on Sarah Waters’ 2009 novel, “The Little Stranger” unfolds in the immediate aftermath of WWII, when the young Dr. Failing to muster enough substance to justify the gravitas, this is a haunted house movie with desperate aspirations for something more. “The Little Stranger” approaches genuine horror territory but pulls back again and again, resisting the strongest aspects of its narrative in favor of an elegant but hollow period drama. Director Lenny Abrahamson follows up his acclaimed “Room” with another expressive look at people trapped by phenomena beyond their control, but this time much of the story has been squandered by misguided goals. The movie flails more than it fails, grasping for possibilities beyond its potential. The visceral quality of claustrophobia is rarely so well executed in cinematic terms, but for much of “The Little Stranger,” it’s the material itself that feels boxed in. She’s surrounded by an invisible, unknown threat, yet Rampling’s frantic response grounds the circumstances in credible dread.
A violent force rattles the door as the walls shake with jarring vibrations from every direction. Ayres (Charlotte Rampling), the matriarch of a wealthy family, is haunted by a supernatural presence that locks her in a room. There’s a single terrifying moment in “ The Little Stranger,” an otherwise confused, self-serious drama, that shows real potential: Mrs.
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