The Ward

wild that this is considered lesser Carpenter (let alone a bad movie) when it furtively inverts the structure of the slasher and uses it to disassemble the mythologized and otherwise concealed nihilism that low-rent ghost stories, asylum horror, etc. tend to offer as a response to female trauma. that it manages to not only perform these acrobatic feats of deconstruction but also is so restlessly paced and economical in its delineation of spaces is a minor miracle, at least.

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