Steeped in haunted house cliché, The Woman In Black dares take you where oh-so-many thrillers have taken you before. Director James Watson turns to Hammer Horror for inspiration (and whether that's a good idea or not is open to debate) in adapting Susan Hill's period novel. Expect an abandoned mansion, frightened villagers, a ghostly legend, dark, stormy nights and one reluctant hero. Further familiarising an already familiar mix is Daniel 'Harry' Radcliffe who becomes consumed by the mysterious goings-on.

In his sophomore effort as a 'serious' actor, Radcliffe doesn't stray far from his supernatural comfort zone as Arthur Kipps, a young lawyer sent to close a deceased estate at the turn of last century. The locals are wary of the stranger in their midst, and seem to be harbouring a secret that involves the disappearance of children. That the estate is isolated by tidal flow twice a day is the least of Kipps' problems. The house, it soon transpires, is also haunted.

It's difficult to become enthused by The Woman In Black partly because Watkins fails to engage new ground, but mostly because of One-Note Radcliffe's staid performance. Without recourse to running or frantically waving a wand, his ability to draw subtlety from the role is found wanting, though in fairness, screenwriter Jane Goldman (X-Men: First Class) hasn't given him much to work with. The film's subtext about grieving fatherhood sits about as comfortably with the young actor as it would his young audience. In fact, it's a little bit weird.

Whilst perfectly watchable, The Woman In Black doesn't offer anything fresh at any level: story-telling, film craft, performance. You've been here many, many times and while die hard Radcliffe fans might find distraction in the spectral yarn, it will be short-lived. Save this one for a long plane journey, or an equally long wet winter's weekend.

// COLIN FRASER
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