*Spoiler Alert*
“The Woman in the Yard” is the latest thriller from director Jaume Collet-Serra, known for “The Shallows” and “Orphan”.
The film follows Ramona (Danielle Deadwyler), a recently widowed mother of two—teenager Taylor (Peyton Jackson) and younger Annie (Estella Kahiha)—as she struggles with the sudden loss of her husband. Ramona’s physically and emotionally broken, navigating the world on crutches while her son picks up the slack. The family’s finances are in shambles, and their isolated fixer-upper home only deepens the sense of unease.
One morning, after breakfast, a woman dressed in black appears in the yard, sitting silently with her palms crossed. Ramona approaches her and, when asked what she’s doing there, the woman cryptically replies, “Today’s the day.” With no way to remove the stranger, Ramona is left to protect her family—and her sanity—as the woman grows closer to the house. This unsettling scenario sets the stage for a tense psychological thriller.
The story may not be groundbreaking, but it’s full of potential. The first act builds intrigue with subtle visual cues, like Ramona watching a video of her late husband while her children navigate the house. The introduction of the woman in the yard, with her unsettling line, “How did I get here?” pulls the viewer in with mystery.
Unfortunately, the script doesn’t capitalize on that early intrigue, spending more time in the house with Ramona’s emotional unraveling. One standout moment is a confrontation where Ramona smashes her husband’s mug, but as the story progresses, the resolution of her mental state feels less convincing. There’s potential in exploring the idea that Ramona might unknowingly be capable of something violent, but the screenplay doesn’t fully explore her psyche. Deadwyler, however, is fantastic—her performance elevates the film and shines when we’re deep inside her mind.
A key strength of the film is the cinematography by Pawel Pogorzelski, who previously worked on “Midsommar” and “Hereditary”. The visuals, particularly in the first half, are breathtaking. Wide lenses emphasize distance and texture, such as when Ramona approaches the woman in the yard, framed by the shade of a tree on one side and bright sunlight on the other. Inside the house, Pogorzelski uses depth of field to give the space an eerie, lived-in feel, adding layers to the storytelling that the script doesn’t always deliver. His work is a standout in creating the film’s unsettling atmosphere.
The twist, which suggests Ramona’s depression and suicidal ideation have led her to a dark place, feels too obvious and underdeveloped. While the fragmented memories Ramona experiences evoke a sense of trauma, the film doesn’t dig deep enough into her past or her relationship with her children to make the twist truly resonant.
Overall, the craft of “The Woman in the Yard” is impressive. Lorne Balfe’s score, with its Jaws-esque staccato strings, amplifies the suspense, and stylistically, the film works. However, the twist and the familiar tropes it leans on ultimately keep it from being a truly compelling thriller.
Letter Grade: C