Movie trailers can sometimes be misleading. While some reveal too much of the plot, I still find myself drawn to them and often skim through various clips. One trailer that caught my attention earlier this year was for Blumhouse’s The Woman in the Yard: a mysterious woman cloaked in black sits eerily in a stranger’s front yard in broad daylight? Count me in!

However, as I’ve pointed out in previous articles, I approach anything associated with Blumhouse cautiously these days. I can overlook past missteps but can’t shake off the disappointment (*cough cough* Halloween Ends, The Exorcist: Believer, etc.).

The Woman in the Yard did not receive great reviews from my peers, but it did start quite a discourse. Folks were arguing about the meaning of the ending and how “you just didn’t get it.” Hence, I decided to forgo seeing it in theaters.

Then, it was on premium video on demand, and I was still hesitant. Thanks to my friends at Tennessee Horror News, I got a code to watch the movie for free at home. Is it worth a stream or rent, though?

The film opens with our main character, Ramona (Danielle Deadwyler), watching a video of herself and her husband on her phone. They’re in their bedroom, and he describes his dream about their finished farmhouse. We quickly learn that her husband is deceased, due to an accident. Ramona has a broken leg and asks for strength, presumably to get up and out of bed. Her two kids, teenager Tay (Peyton Jackson) and grade-schooler Annie (Estella Kahiha), are downstairs making breakfast.

Ramona is depressed and struggles to complete simple tasks, such as calling the electric company to get the power turned on. 

Suddenly, a figure in flowy black fabric appears outside the window, far in the distance. She looks incredibly creepy in the daylight thanks to some great camera angles and footage. Approaching the woman to ask if she needs help, she seems to know a lot about Ramona. And as Ramona retreats into the house, she ominously says, “Today’s the day.” 

The story unfolds sluggishly, making it hard to feel any real tension, if there’s any at all. The plot becomes incredibly thin, leaving me yearning to grab my phone for some form of distraction. Still, I pressed on.

This film was directed by Jaume Collet-Serra, who made a name for himself with several notable horror films, including House of Wax (2005), Orphan (2009) and The Shallows (2016). Sam Stefanak penned the screenplay, marking his debut in feature-film screenwriting. What struck me the most and filled me with hope was the stage and sound design of the movie, which beautifully captures the essence of a southern summer, with cicadas serenading their hearts out.

But most importantly, the cinematographer, Pawel Pogorzelski, saved this production. He has collaborated on several films with Ari Aster, such as Hereditary (2018), Midsommar (2019) and Beau is Afraid (2023). How he captured the woman in black brought an unsettling edge to the film, enhancing its overall creepiness. He also made a single location feel less isolating and more spread out, lending a helpless vibe to the narrative. 

Deadwyler delivers a powerful performance as the grieving Ramona. Her sorrow seems to reach through the screen, prompting me to reflect on my own journey through grief. Since grief is a natural and universal experience, it’s easy to see why films, particularly in the horror genre, often explore this theme as a means of processing emotions.

However, the film’s slow pace caused me to lose that emotional connection, ultimately leaving the story flat and unengaging.

The first half of the story is rather dull. Sure, there’s a creepy woman just sitting in their yard, but it’s hard to understand why the family is so frightened of her. Her presence doesn’t warrant that level of fear; besides her unusual outfit, nothing about her feels threatening. The family watches her from a distance.

Things do start to pick up around the halfway point, but even then, the actions of the “woman in the yard” come off as silly and over-the-top. This undermines the deeper theme of a family grappling with grief. As the story unfolds, it begins to unravel, and the symbolism intended to communicate the looming grief ultimately fails to resonate. 

And then there’s that ending.

The conclusion sparked heated debates online. Without giving anything away, I think I grasp the meaning behind it. However, it feels as though it somewhat glorifies the act that Ramona ultimately commits, which is a bit concerning and arguably crosses a line for a film of this nature. It seems like the movie aimed for a sharp turn into the unsettling territory of Hereditary, but it was more of a missed opportunity than a successful pivot by that point.

I’m all for Blumhouse producing films that cater to a broader audience, and this one seems to fit that description. However, I wouldn’t suggest it for seasoned horror fans. It might work for someone looking to dip their toes into the horror genre, but the script falls short, even then. Plenty of other gateway horror movies are much better suited for anyone interested in exploring the darker side of cinema.

I rate Woman in the Yard two out of five stars. While the film did not fully achieve its potential, one aspect that truly shines is Deadwyler’s performance. The cinematography is visually striking, capturing the atmosphere and emotional weight of the story with impressive skill. However, despite the strong visual elements and the intriguing premise, the narrative struggles to fully engage the audience and deliver a satisfying resolution, leaving me wanting more from what initially seemed like a promising concept.

Should you stream or rent it? Stream it if you’re bored and can’t find anything else to watch.

Let this serve as a reminder that not all trailers are alike; some can lead you to believe things that aren’t true. I can’t dog on Blumhouse; Drop was excellent. I’m hoping M3gan 2.0 is the next big hit!