The moment that you find yourself sitting in a cinema having to tell yourself that you are ‘just sitting in a cinema’ signals the success of any horror film.  The Awakening isn’t the most innovative of horror films; it uses the familiar formula of tense music and sudden jumps. However Murphy’s thriller never feels generic or hackneyed, proving it is a genuinely compelling and enjoyable watch.

The film follows the endeavours of renowned ghost sceptic, Florence Cathcart (Rebecca Hall), as she attempts to explore reports of a haunting, and subsequent death, in a stately-home, turned boy’s boarding house.  Suffice to say, the explanation proves far more complicated than first apparent. To divulge more would involve venturing into the murky waters of spoilers that it would best to avoid.

Rebecca Hall is engaging throughout, delivering a stunning performance as Cathcart, an outwardly assertive and flirtatious woman who privately seeks some comfort in the notion of the afterlife despite her public rejection of it.  Yet the supporting cast never seem overshadowed by her performance, with Dominic West aptly portraying the brooding Robert Mallory, the interesting, yet predictable, love interest of our heroine.  In fact, the only actor that seemed out of place was, surprisingly, Imelda Staunton (Maud Hill), who came into her own later in the film but seemed rather detached initially.  Although, it might be fairer to give her the benefit of the doubt in this case; as there can be little doubt that her character might conservatively be described as ‘eccentric’.

Occasionally The Awakening may be marred by a cliché line or two; and the nature of the portrayal of a man who refused to go to war can’t help but make one a little uncomfortable about potential inferences.  Nevertheless, a collection of intriguing characters, strong performances, eerie, yet beautiful cinematography, and a noticeable lack of gore left this viewer feeling more than happy to offer her recommendation.