Honeymoon is the first feature length film that Leigh Janiak has written and directed, and it's quite the debut.
Honeymoon sees Rose Leslie's Bea and Harry Treadaway's, Paul just married, their relationship harmonious. They have chosen a near isolated cabin in the woods to celebrate their honeymoon. Meeting Bea's macho ex boyfriend, Paul jokingly feels like he's not manly enough when he is juxtaposed against the physically controlling man. As they continue with their honeymoon, when Paul finds Bea in a cataonic state, it is clear there is something malevolent presence in the cabin the debilitate Bea's demeanour. The benevolent Paul must exert his strength against the spiritual ambience when worsens. With this in mind, Paul goes to that idea when it appears there is a malevolent presence creeping about
Arguably, horror relies on emotional cue music more so than other genres. It's that feeling of anticipation that you're about to jump out of your seat, though you can't see what's coming. Ideally, the score should cue the viewer how to feel via a subtle approach. If you're about to cheer for the hero, you don't want to feel as if you've been manipulated to do so, however. The music should make you feel proud to be on the heroes side but in a low-key way. The thrumming bass that announces the intruders is balanced by a remarkably subtle score, only improving it's intensity and ability to make you nervous.
Janiak wields the camera bravely. I adored the colour palette she uses, the mute Spring colours are contrasted by the flickering house lights and the brightness of the intruder's spotlight. There's quite a lot to like about Honeymoon and I'm am looking forward to what Janiak comes up with next.
Honeymoon is out this Friday