Fangoria Magazine

Living Spirit Pictures’ third feature, URBAN GHOST STORY, bears such a title not only because it is set in a lower-class city high-rise. It is also an examination of what happens when ghosts leave the world of Gothic mansions and misty cemeteries and permeate modern, everyday life. It is haunting not only because of its supernatural threat, but also for how the cynical, thoughtless media will manipulate and exploit innocent people for the sake of a moneymaking story. It is an urban ghost story because, even in the midst of a poltergeist infestation, the realities of day-to-day life seem to ring more horrific than anything. While URBAN doesn’t go for the jugular with its shocks, its quiet, thoughtful approach results in a constant wave of mounting realistic dread.

After a drug-induced joyride-turned-horrific auto accident, 12-year-old Lizzie dies for over three minutes, before being revived and learning that her best friend Kevin has perished. Once settled back into her sparse Glasgow flat, accompanied by her mother Kate and younger brother Adam, Lizzie becomes subjected to unexplained happenings and soon comes to believe that a ghost has followed her back from the other side. What follows is like a setting reversal of THE CHANGELING. Replacing the remote mansion with a heavily populated inner-city apartment complex, the film still manages to retain a sense of inescapable isolation. The narrow halls and dark elevators help establish an atmosphere that is as depressing as it is claustrophobic.

Even as the ghostly happenings become more pronounced and intense, it is hard to ignore the real issues that permeate the story. Drug addiction, divorce, money struggles, single parenthood and teenage angst are themes that give the film a richness and emotional resonance not witnessed enough in the genre. Watching the quietly beautiful and dignified Kate trying to cope with her estrangement from her deadbeat husband, an aggressive loan shark, her daughter’s emotional problems and her own long-standing recovery from drug addiction almost makes the viewer forget that there is also a poltergeist roaming their apartment.

When no one will believe the family’s story, and with social workers breathing down the family’s neck, Kate decides to bring the story to seemingly endearing but rather sleazy tabloid journalist John Fox in a last-gasp attempt to get help. This is when the story becomes truly interesting. In an attempt to cash in on the story and then exploit the family as perpetrators of a hoax, Fox brings in an entire team of “specialists” to further sensationalize the case. Soon these people become more of an invasive and oppressive presence than the ghost itself, which takes a back seat for much of the second half of the film. It is difficult not to wince painfully when witnessing the slimy group of so-called experts prodding and antagonizing Lizzie for their own gain, inducing her to near madness by preying on her guilt over the death of her friend.

The sequences featuring this team are not completely without a sense of humor, though. The scene involving a medium attempting to channel the ghost is amusing for the sheer level of seriousness of those involved, all of whom believe that the ghost is simply a story fabricated by Lizzie, but are nonetheless playing along for sensationalism’s sake. Once it seems as if URBAN GHOST STORY cannot possibly become any more depressing or cynical, it presents a poignant climax that sees Lizzie finally coming full circle with her guilt, and finding the forgiveness she so desperately needs. The ghost itself becomes more of an afterthought—its identity and its desires are not important; rather, it is its function as a metaphor for Lizzie’s own demons that becomes its central position in the story. While some fans of visceral horror may be disappointed with the climax’s favoring of thoughtfulness and introspection over heart-pounding action, it is nonetheless a great way to complete the arc of the film. It is a touching but also uncompromising look into the lives of those not fortunate enough to be able to buy themselves out of a tough situation.

MTI’s DVD is a solid package. The 16x9 widescreen transfer looks very good, retaining a gorgeous bevy of greens that pour out of nearly every frame while still retaining enough grain to give the film an effectively grimy cast. The most interesting extra is an UNSOLVED MYSTERIES-style documentary about a real, documented poltergeist case in England. The evidence from the case, including plenty of photos and tapes of spectral voices, will give pause to anyone who feels skeptical concerning the existence of ghosts. It is a shocking and exciting look at the world of the paranormal that will thrill anyone interested in true hauntings. The two making-of documentaries are well-done, providing plenty of on-set footage and insight into the filmmaking process, which is very organized for such a low-budget feature. Although Genevieve Jolliffe made her directorial debut on URBAN, she exudes the professionalism of a veteran, yet she also has a giddy enthusiasm that is quite infectious. Hopefully this will be just the first in a line of interesting genre films for her. The deleted scenes are very well-put-together, with commentary from co-writer/producer Chris Jones. There is plenty here that would have added extra subtext to the film, so it’s nice to see that it hasn’t all been lost forever. The two audio commentaries, while informative, are really only for those folks who fall in love with the film (and hopefully there will be plenty). They can be a bit dry and clinical at times, so those not overwhelmed by the feature will likely not find any new appreciation for it through these narratives. Also, the two separate talks, featuring Jolliffe with cinematographer Jon Walker and Jones with editor Eddie Hamilton, could have been combined, since there is plenty of similar information divulged. Rounding out the features is a still gallery accompanied by a selection from the film’s haunting score.

It’s great to find a low-budget feature like URBAN GHOST STORY. Devoid of the budget of a Hollywood film, the filmmakers did not even consider doing a special FX freakout. Instead, the film focuses on characters and themes, but never becomes dull, as there is always a sense of dread lurking in the shadows of the rundown high-rise. It strikes just the right chord between horror and serious drama, and should be seriously considered by those looking for a genre film with a sense of thoughtfulness outside of “Who can we kill off next?”