How much would you pay for a chance to speak one more word to those you’ve lost? A cursory viewing of “Baghead,” another addition to the cinematic world of ghosts, might suggest such a premise to be the central focus of this unremarkable horror outing. Yes, that notion is undoubtedly part of the narrative, but just as much attention is placed on those who’ve been lost as those who are desperate to see those faces one more time. Either way, any focus the film places doesn’t go anywhere special. Inevitably, carefully made plans go awry, and unfortunately, we all know this drill all too well.
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Iris (Freya Allen) hasn’t had the best run when it comes to the challenges of life, though she is fortunate to have the support of her best friend Katie (Ruby Barker), who does what she can to keep Iris on the right path. When word reaches Iris that the father she never mentioned, Owen (Peter Mullan), has passed away—leaving Iris with a dingy pub as her inheritance— the film is quick to introduce us to the presence of Neil (Jeremy Irvine) as he lurks in the shadows of Iris’ new digs. Neil, someone who also appeared in a brief introductory scene begging a then-alive Owen for something not yet revealed, has returned to clarify precisely what he wants and how Iris can assist. It turns out this pub houses a supernatural being in the recesses of its basement, one that, for two minutes, can take on the form of any deceased individual, but extending the experience even one second longer could spell disaster. It’s a strange, not entirely convincing premise, but it is what it is with this film.
Neil desperately wants to see his late wife once more, going so far as to offer several thousands of dollars for the opportunity, and after confirming the creature’s existence moments later, it is time for a test run. Though instructions are followed and the ever-necessary personal items are provided to kick off the spectral encounter, the results fail to conjure what (or, more specifically, who) Neil intended. This, however, is enough for the young man to plead with Iris for one more opportunity to see his deceased beloved. Iris sees the financial benefit in this request, but a horrified Katie insists it must be halted immediately. Could a happy ending lie just around the corner? Is it safe to assume otherwise?
All of what’s been mentioned merely scratches the worn tavern countertop of a film that doesn’t even have much more surface to claw at; it’s a setup that feels both slow and surprisingly fast. The first half of “Baghead” does its best to conjure a suitably unsettling atmosphere, with the darkened pub housing much of the film’s action and no shortage of eerie noises making their presence known at appropriate times. However, and perhaps most unfortunately, any meaningful stabs at an examination of grief, coping with death, or the ability to move on play second fiddle to conventional horror half-scares. A feature-length expansion of director Alberto Corredor’s own 2017 short film of the same name, “Baghead,” also faces the unfortunate timing of following last year’s well-received “Talk to Me,” a similar film much more compellingly made. Even though the cast offers their best, with Allen a particular standout, it’s far from enough to separate this run-of-the-mill imitator from anything more distinct and original.
“Baghead” feels like a significant missed opportunity. The chance to see a deceased loved one again could be a gift or a curse and could easily damage the grieving process. But Corredor’s film just isn’t interested in exploring anything with any depth. Its concept doesn’t necessarily need dimly lit sets, ominous scores, and sinister forces; ghosts shouldn’t have to necessitate a need for fear, but it’s really the only note that “Baghead” plays. Nods to forefathers such as “Poltergeist” rear their heads occasionally. But by the time a convoluted explanation of sorts finally arrives at the expected climax— along with a twist that goes from near-effective to a touch clumsy— it’s clear that “Baghead” is its own sort of movie, almost entirely average and never justifying its existence.
The way this tiny cluster of characters takes advantage of what may very well be a misunderstood monster is the ultimate issue lurking within the walls of “Baghead,” or perhaps it’s a simple warning against dealing with a power one can’t begin to understand. For anyone who’s experienced firsthand the pains associated with a loved one’s final departure, death is about how we cope, how it defines us, and how the legacy of someone who has passed is never truly gone. “Baghead” cannot grapple with bigger questions; instead, it is mostly just satisfied with cheap jump scares that don’t provide any value or comfort to those who have suffered loss. And even as a basic scary horror, it just doesn’t hold the goods. [C+]
“Baghead” is available now on Shudder.