Better than its reputation implies

The much-maligned remake of the classic 1963 film of the same name, 1999's The Haunting is a better flick than its reputation implies, thanks largely to a charismatic cast and exceptional set design. Scripted by David Self (Road to Perdition), the feature is based on Shirley Jackson's 1959 novel The Haunting of Hill House (which recently inspired a terrific Netflix series), and is actually more of a re-adaptation than a remake, since the production company could not obtain the remake rights for the 1963 film. Produced on an eye-watering $80 million budget, and with blockbuster extraordinaire Jan de Bont (Twister, Speed) at the helm, The Haunting is a visually striking horror movie, but it does not leave a lasting impression or get under your skin, which is a shame considering the talent and potential.

Dr. Jeffrey Marrow (Liam Neeson) intends to conduct an academic study on the nature of fear, and selects three participants under the pretence that the research relates to insomnia. Eleanor (Lili Taylor) is an insomniac who recently lost her mother and risks homelessness, and is one of the candidates chosen by Dr. Marrow for the experiment. Joining Eleanor is the adventurous Theodora (Catherine Zeta-Jones) and the sarcastic young Luke (Owen Wilson), both of whom suffer from sleep disorders. Dr. Marrow, along with research assistants Mary (Alix Koromzay) and Todd (Todd Field), takes his subjects to the enormous gothic mansion known as Hill House, which was built in the 19th century on an isolated site in New England. Dr. Marrow intends to frighten the group by telling them about the house's disturbing history, but soon finds out that the mansion is really haunted by Hugh Crain (Charles Gunning) as well as the souls of several murdered children.

1963's The Haunting is celebrated for being a psychological horror film, as it never reveals any spirits or entities on-screen; it's a sublime demonstration of "less is more." However, this iteration of The Haunting mostly disregards psychological horror, instead relying on expensive special effects to create big set-pieces and show the entities inhabiting Hill House. Although this new approach is often perceived as a negative, merely duplicating the 1963 picture's style would likely feel too derivative. Furthermore, several of the scary moments receive innocuous explanations, which leaves you to wonder if your eyes are playing tricks on you. The Haunting fares best throughout its first two acts, which are more restrained and contain numerous chilling moments, but it begins to lose its way as the proceedings build to an overblown climax. The digital effects by ILM are competent and serviceable, but do not always convincingly blend with the live-action material.

The real star of The Haunting is the extravagant production design by Eugenio Zanetti, which is a sight to behold, turning Hill House into a character of its own. The mansion's architecture is breathtaking, from the gothic statues to the windows, paintings and furniture - there is always something visually striking on-screen, and cinematographer Karl Walter Lindenlaub (Universal Soldier, Independence Day) takes full advantage of the lavish sets. The sweeping exterior shots of a real mansion in England also serve to augment the sense of scope. Furthermore, the score by the late great Jerry Goldsmith is predictably magnificent, giving The Haunting some much-needed atmosphere and flavour. Meanwhile, in terms of the casting, Lili Taylor's character receives the most development, as the movie allows us to become acquainted with her before she sets foot in Hill House. (Luke and Theodora are not glimpsed until they arrive at the mansion.) Taylor is a talented performer, and she brings convincing depth to the role, always appearing committed to the material. Additionally, the always-reliable Neeson makes for a fine Dr. Marrow, while Zeta-Jones and Wilson are eminently watchable, even though neither of them step outside of their comfort zones.

In the grand pantheon of contemporary horror films, The Haunting is not among the worst, and it deserves a second chance. Although not exactly terrifying, it is entertaining and atmospheric, and it's low on mindless jump scares that have come to characterise the modern horror genre. It's a bit long in the tooth at just under two hours, and the climax is underwhelming, but some moments throughout the feature are creepy and thrilling, while the production design remains a visual marvel. In short, while not the classic it had the potential to be, the movie gets just enough right to ensure it's worth watching. Spurred on by the negative critical reception, The Haunting was nominated for five Razzie Awards, including Worst Picture, but it does not deserve such disdain.