Despite a strong performance led by Danielle Deadwyler, The Woman in the Yard fails to make an impact due to a lackluster script.
In The Woman in the Yard, following the death of her husband David (Russell Hornsby, The Supremes at Earl’s All-You-Can-Eat), Ramona (Danielle Deadwyler, The Piano Lesson), along with her teenage son Taylor (Peyton Jackson, Pet Investigators), and her youngest daughter (Estella Kahiha, Will Trent) grieve in isolation on David’s farm. However, one day a mysterious woman covered in black (Okwui Okpokwasili, Agatha All Along) arrives at the farm. Soon, Ramona and her kids wind up in supernatural peril. As danger builds up, Ramona must find a way to protect her family.
Grief and Trauma Through The Woman in the Yard
With The Woman in the Yard, director Jaume Collet-Serra (Carry-On) attempts to make a terrifying yet compelling tale. One that also explores preserving through grief and loss. Unfortunately, while the ingredients are all there, the film fails to make an impact. A part of this is due to screenwriter Sam Stefanak’s (F is For Family) lackluster screenplay. With the script, there is a lack of context to the current events. Nor does it attempt to flesh out its characters. Despite the script’s shortcomings, Collet-Serra manages to spin the film into something visually appealing. Still, the damage is too great.
A prime example of this is from cinematographer Pawel Pogorzelski (Holland). Pogorzelski uses upright camera angles to convey a vast depth of scale, giving a sense of scope and scale. Additionally, it allows the audience to understand geography. For particular shots, Pogorzelski uses the camera like a turntable, spinning it around. Thus creating a massive dynamic between the audience and the screen. It also makes a connection between the audience and the screen. But these do not save the movie.
Production, Sound, and Costumes
Moreover, production designer Marc Fisichella (Salem’s Lot) keeps the sets practical. Additionally, Fisichella expressed a certain amount of depth within the sets as well. We see this in how the rooms on set appear, highlighting a personality within them. But, this is in contrast with the costume design. Courtesy of costume designers Kurt and Bart (Babygirl), the costumes are minimal but practical. Still, the costume for the titular character is imposing but also regal at the same time. Furthermore, it gives off a timeless elegance.
Likewise, sound designer Erik Aadahl (Carry-On) crafts the sound to produce a haunting yet disorienting feel. Additionally, this extends to composer Lorne Balfe (Novocaine). Balfe adds an electronic piano medley on top of the disorienting sound. In turn, this adds suspense and emotion to the film. Finally, editors Timothy Alversob (The Exorcist: Believer) and Krisztian Majdik (Carry-On) bring the film in at an hour and twenty-eight minutes. The two managed to maintain the scare while highlighting the performances.
Performances in The Woman in the Yard
Speaking of the performances, Danielle Deadwyler (Carry-On, The Piano Lesson) expertly leads the cast as Ramona. As Ramona, Deadwyler delivers a strong standout performance, displaying both grief and heartbreak at the same time. Through this, we get pathos into Ramona’s health and mental state. Plus, Deadwyler manages to have solid chemistry with Peyton Jackson’s Taylor and Estelle Kahiha’s Annie. As for the titular woman in black, Okwui Okpokwasili (Agatha All Along) delivers a solid performance. Okpokwasili brings a sense of fury and calmness to the character.
Final Thoughts
Regarding The Woman in the Yard, director Jaume Collet-Serra (Carry-On) tries to make a compelling and emotional tale about grief and loss. Unfortunately, the lackluster script hampers these emotional states. So, this forces the film’s cinematography, production design, and sound design to work overtime to make up for this. Additionally, Danielle Deadwyler leads the cast exceptionally, giving a standout performance. Despite its attempts, The Woman in the Yard fails to match up with its themes. As a result, the film suffers as a whole, bringing it down with them.
