A mysterious woman repeatedly appears in a family’s front yard, often delivering chilling warnings and unsettling messages, leaving them to question her identity, motives, and the potential danger she might pose.
Blumhouse has built a reputation as one of horror’s leading studios, known for releasing standout films like “Insidious,” “Sinister,” “Get Out,” “Happy Death Day,” “The Invisible Man,” and “The Black Phone.” Yet, not every project they back meets these high expectations. “The Woman in the Yard,” directed by Jaume Collet-Serra, is a telling example. Marketed as a supernatural thriller, the movie struggles to succeed in either suspense or scares.
The plot centers on Ramona (Danielle Deadwyler), who is left physically impaired and emotionally distant after a car accident claims her husband’s (Russell Hornsby) life. She now lives with her two children, Taylor and Annie (Peyton Jackson and Estella Kahiha), enforcing strict boundaries and keeping her feelings at arm’s length. Their uneasy routine is interrupted when a stranger in black appears on their lawn, declaring, “Today’s the day.” Ramona instructs her children to remain indoors, but as evening falls, a series of disturbing incidents takes place both inside and outside the house. It becomes clear that the mysterious visitor’s supernatural presence is somehow restricted to areas touched by light. In an effort to shield her children, Ramona leads them into the attic’s darkness, though the film never makes clear if this actually provides safety.
Despite an intriguing setup, the ending fails to satisfy. Peyton Jackson and Estella Kahiha deliver solid performances, and the film is visually well-crafted; however, the story falters. Eventually, it’s revealed that the woman in black symbolizes death, and that Ramona, weighed down by years of misery, has considered suicide. When confronted by death in a literal sense, she recoils, realizing the significance of her children and deciding against taking her own life.
But this is the film’s biggest issue: Ramona’s change of heart feels unconvincing. Throughout the narrative, she comes across as short-tempered and cold toward her kids, making her late-stage epiphany seem abrupt and unearned. The script doesn’t adequately chart her emotional evolution, leaving the conclusion feeling more like a plot requirement than a genuine transformation. The filmmakers also miss a chance to build suspense by revealing too soon who the woman in black really is, undercutting the tension that films like “The Curse of La Llorona” sustain by keeping their threats mysterious until the end.
Flashbacks show that Ramona’s unhappiness predates the events of the film—her discontent in the city led her husband to move the family to the countryside, but the change fails to lift her spirits. Her emotional withdrawal from her children never wavers, and when the story reaches its turning point, her decision to go on living feels more like a narrative requirement than the product of real insight or regret. Even when her daughter appears to be lost, Ramona’s response is subdued, lacking the intensity one would expect from a grieving mother.
The movie tries to deliver a final twist, but it doesn’t land. For a plot twist to work, viewers have to care about the characters—“The Sixth Sense” succeeded because audiences were invested in Malcolm’s journey. In contrast, Ramona’s subdued presence throughout “The Woman in the Yard” prevents viewers from engaging with her story or caring about the film’s last-minute revelations. Although Jaume Collet-Serra has shown his directing talent in movies like “House of Wax,” “Orphan,” “The Shallows,” and “Carry-On,” this latest entry doesn’t measure up. Hopefully, it’s just a misstep in an otherwise strong career.
Now available on Digital and on Blu-ray™ and DVD May 27th
10k
20k
1.5k
2.2k