In The Moor, the year is 1996, and in a village in Yorkshire, England, a number of children vanish without a trace. Each child disappears in broad daylight, all throughout the summer season, leading the media to dub the crime ‘The Summer of Fear’.
Following a great deal of police and media activity, a suspect is eventually arrested in connection with the disappearances. Although the children are never found, the man is convicted of murder and given a life sentence.
Fast-forward 25 years, and the community remains scarred by the events of that summer. Everyone has a tale to tell about their experiences, with some still haunted by what happened, and this includes Claire, a young woman whose best friend, Danny, was abducted back in ’96.
Although keen to put the past behind her, Claire will never forget the day Danny disappeared. And when Danny’s dad, Bill approaches her for assistance, she feels compelled to help.
Bill is convinced his son was taken to the Yorkshire Moors back in ’96 and killed. He believes Danny’s body is still up on the Moors, and he won’t rest until he finds his son’s remains.
Working with a Moor ranger, as well as a team of spiritualists, Claire and Bill head up to the Moors looking for evidence of Danny’s death. But will they find the answers they are looking for?
Directed by Chris Cronin, The Moor is a British, low-budget, supernatural folk horror movie. The film stars Sophia La Porta and David Edward-Robertson, and received its world premiere at FrightFest on Saturday 26th August.
Claustrophobic and occasionally unnerving, The Moor is a mesmerising little horror built around mystery and atmosphere. The film uses the abduction of the children to frame its story, before moving on to what is essentially a fog-filled, mist-covered ghost hunt across the Moors.
All the way throughout the film, the motive behind the murders, as well as the murderer himself, are largely inconsequential pieces of the story. The Moor is instead concerned with putting spirits to rest, and consistently conveys a foreboding tone that suggests something sinister and supernatural is just around the corner.
Is it? Well, you’ll have to see for yourself; but what I can say is The Moor is very spooky.
I should say The Moor is a slow burn film, so don’t expect wall-to-wall frights, but it certainly has the ability to unsettle. This is a horror put together with confidence, from a director with a clear vision, and the result is a picture with the power to get under your skin.
OK, so it might not be for everyone and those who want a bit more spectacle may check out early, but those who connect with the material will find themselves getting lost in the story. There is something very mysterious and very creepy about the Yorkshire Moors; The Moor brings this to the forefront of its story; and if you’re into folk horror then I believe you’ll like what’s on offer here.
While I would like a little more punch in a couple of places, specifically during the mid-section, overall I love the ominous tone of The Moor, and the way it develops its story. The opening sequence sets the style and feel of the film, and it builds into something quite interesting.
There are a couple of moments which are rather sinister, and The Moor knows how to leave audiences feeling uncomfortable as credits roll. So, if you’re in the mood for some creepy British horror, then make sure to check this one out when you can, as The Moor is pretty solid stuff.
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