In 1968, former Nazi occult officer, Samuel Sears, runs a strict farm in rural America, restricting his only daughter Alice from the corruption of the outside world with an infinite workload, and Alice violently rebels against her tyrannical father, Samuel kills her with rage. Hidden deep in the dark basement of his plantation home, a powerful Nazi-occupied amulet, charged by fear and hate, feed on his rage and fear and curses him to do the unspeakable. In the present day, four college girlfriends retreat to a friend of the family’s recently purchased foreclosure farm house, the abandoned and forgotten Sears farm, for a relaxing weekend getaway, but after night of drinks and games, the amulet reignites an ominous and dark cloud, reviving long forgotten, evil spirits who search for an endless quantity of fear and hate and will stop at nothing to swallow the souls of each and everyone inside the Sears’ estate home.
“The Hatred” is the 2017 haunting thriller from writer-director and Brooklyn native Michael Kehoe and produced by long time “Halloween” franchise producer Malek Akkad. Kehoe tells the story in two parts with the first delving in the Sears family, getting a first hand look at the hardworking German mennonite character that is Samuel Sears whose a former war time Nazi that’s settled down and raised a family in America’s backcountry. From what can be gathered about Samuel Sears, the farmer protects his past identity and isn’t ashamed of yet, but rather proud of his accomplishments alongside the Führer. All of the attributes of a proud countryman come suddenly alive when he receives a mysterious package containing the amulet, a photo of him in full Nazi dress standing with Adolf Hitler, and a signed letter personally acknowledged by the Nazi leader himself offering him the amulet as a gift for his fine work during the War and that ultimately becomes his downfall, pitting him against his family. The second part of the film tells a more uncharismatic story of four young girls staying at the Sears farm in present day. One of the girls, Regan, just finished college and is about to start a new job and what’s her ideal getaway with her girlfriends? An old (haunted) farmhouse.
“Wishmaster” himself, Andrew Divoff, gives “The Hatred” much more life despite his joyless character Samuel by somehow giving the former Nazi, now American farmer personality traits that are haunting in an unforgettable performance during the first act. The same can not be said about the four girls – Regan (Sarah Davenport), Layan (Gabrielle Bourne), Samantha (Bayley Corman), and Betaine (Alisha Wainwright). There’s no comparison as Samuel is a superiorly written and finely performed character than those he stalks beyond the afterlife. The gaggle of women offer no substance in the face of adversity or just plain ole progression of their character. Numerous times does Regan’s sick grandmother have scenes and Regan passively forgets about her poor grandmother’s health or Samantha’s uncanny interesting in history that really goes no further than the random facts that she spews. Regan and Betaine seem to have this close knit relationship, yet it founders and is suddenly cut short when all hell breaks loose. There are no personal connections established, offering little-to-no worth to their lives when Samuel comes calling for their souls, and leaves “The Hatred” in the take-it or leave-it column in the second and third act. Darby Walker, Nina Siemaszko, and Shae Smolik complete the cast.
Kehoe does display intense, nail-biting visuals with the materialized embodiment of fear and hate as well as sly editing with a scene involving Shae Smolik’s Irene, a little girl whose friends with Regan, who asks Regan to check under her bed, for supposed shadowy figure. When Regan pulls back the skirt to look, she sees another Irene putting a finger to her mouth, hushing Regan, and saying, “that’s not me,” as she points upward toward Regan’s impending doom. The heart-stopping moment will tear eyes away from the screen in anticipation of what Regan will see atop of Irene’s bed. However, that’s the sad truth in the extent of Kehoe’s story; a story riddled with plot holes and underdeveloped subtexts in which one in particular pertains to the aforementioned subplot of Regan’s ill stricken grandmother that goes undercooked when attempted to connect with the supernatural portal that of the Sears farm home. Characters disappear to never be seen again, character motivations go unexplained, and backstories are like a hazy dream and the entire ensemble is a mismatched, muddled mess in a premise that should have continued with the motif of the Nazi infiltration into America and less about scaring the wit out of witless girls with the creepiness of an alternate dimension seeping out of an unholy amulet.
The Lionsgate Films’ “The Hatred” is presented by Anchor Bay Entertainment on Blu-ray and UltraViolet home video in a 2.40:1 aspect ratio from an encoded AVC 1080p transfer that’s sleek and well lit, especially capture Samuel’s earthly and grim nature. The overall atmosphere doesn’t particular hone in a horror palette design, but offers realistic ventures into brightly lit areas of dark scenes. Details are fine in more of the natural aspects of the film whereas the CGI goes soft at times, but still very well detailed. The English language Dolby TrueHD 5.1 keeps Kehoe’s film buoyant with a leveled mix through and through with clear fidelity and good, if not great, surround sound output. Instilled with conventional horror schemes, burdened with design flaws, and unfocused in it’s inability to pin down an narrative identity, Malek Akkad and Michael Kehoe’s spook house feature “The Hatred” requires much tender loving care to uplift this unkempt cliche horror into a coherent thriller.