Directed by Heidi Greensmith and written by Naomi Gibney, Kate Rafter is back to home after a horrific incident in war-torn Iraq and the death of her mother. While packing up her mother’s belongings she comes to believe there is something strange and terrifying happening in the house next door. Starring: Jenny Seagrove, Anna Friel, Ben Miles, David Bradley, Maggie Steed and Olga Kurylenko.
Delving into My Sister’s Bones it is hard to deny that the style of the aesthetic and the overall feel of the film is reminiscent of a lot of darker British television dramas like Broadchurch or Marcella but that’s not necessarily a bad thing. There’s a reason why those programmes entice viewers back episode after episode, the formula works. You create an atmosphere of tension, you tinge the cinematography with some darker greens and greys, it sets up the perfect playing field for secrets, deception and trauma.
That’s something that’s applicable to My Sister’s Bones on the whole, it’s familiar but solid. It’s quiet and gradual, it has lingering mysteries from the past and a fractured relationship between sisters. Both of whom have never learned to deal with their emotional baggage. Yes, it can feel a touch heavy-handed at times, mostly when it tries to colour outside of those familiar lines, but it still works. However, when it arrives at the ending, it surprisingly throws something at the audience which expands beyond that.
It ventures into more exciting and thrilling territory, which is great, but the problem is that it didn’t build the foundation for that sudden switch. It’s as if it got the majority of the way through its story and then decided the point was something entirely different. So, instead of getting a satisfying resolution to the emotional issues that have plagued these characters throughout, having combed through their childhoods for painful memories, they go mostly unresolved. That makes it a tricky one to judge because while it is a good ending, it’s not the right ending for the story it was telling. Despite the fact that Heidi Greensmith’s style does work well with it.
As do the performances from this very well chosen cast. Jenny Seagrove as Kate captures how childhood trauma can churn out problematic adults with fractured relationships, as well as portraying PTSD, while creating a smart, strong character. Anna Friel gives us the other side of that story with Sally, quick to mistrust, hanging on to memories rather than actually trying to find out the truth creating lingering resentments, often as a result of her struggle with alcoholism. David Bradley can genuinely do no wrong and is a British treasure so his presence is always appreciated. Ben Miles is another extremely reliable actor, who gives a great performance here.
My Sister’s Bones feels very familiar but still has a worthwhile story to tell. Heidi Greensmith’s directorial style nicely creates a tense, suspicious and curious atmosphere. Naomi Gibney’s writing delves into a lot of trauma, and in classic British fashion of pretending it doesn’t exist until it comes to bite you later in life. There’s a really great cast of familiar faces, the cinematography is understated but effective. It simply moves a little too slowly and switches its focus last minute to create an impactful ending, but one that also sweeps a fair number of questions under the rug.
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