Directing: B
Acting: B+
Writing: B
Cinematography: B
Editing: B
Special Effecs: B+

When we first meet Ida, the little blonde girl at the center of the Norwegian horror film The Innocents, it’s tempting to think she’s vaguely reminiscent of one of the Children of the Corn. That would be an oversimplification, though; there are no mindless monsters here. This film is unsettling in how its young children discover their supernatural powers, don’t quite understand them, an feel guilt about the damage done during what amounts to subtle tantrums. Well, sometimes they feel guilt.

Ida is a fascinating character, though, in that at first she seems like she might be the villain. She has an older, autistic sister named Anna, who appears not to feel pain and so Ida will pinch her just to amuse herself. Then, in the large apartment complex development their parents have moved them into, Ida befriends a boy named Ben, who is just discovering a telekinetic ability. Another little girl, Aisha, finds she can read the other kids’ minds.

The discovery and exploration of all these abilities is relatively innocent—hence the title—as they all also discover their abilities are somehow stronger in the presence of Anna. But, Ben soon discovers other abilities, and well, let’s just say he doesn’t tend to use them for good. This is where The Innocents really diverges from other films even remotely similar: Ida, who seems a little creepy in her own right at first, gradually discovers that she is in over her head with her relationship with Ben. What they do to a neighborhood cat together should on its own merit a severe warning to animal lovers who might want to watch this movie.

Writer-director Eskil Vogt—who also co-wrote last year’s widely acclaimed The Worst Person in the World—really takes the concept of a “slow burn” seriously. There is a couple of jump-scares, but not in the way you might expect; and the first third of the film in particular really takes its time, with quiet, extended cuts. If you come to this film with open-minded patience, then it has its rewards. If you’re into the kinds of rewards they are, anyway.

What I like most about The Innocents is how the story remains within the worlds of the children. The adults in their lives are mostly oblivious, whether or not they’re subjected to a child’s mind-control. None of these kids’ parents have any idea what’s going on between the kids themselves, which is typically the case even in the real world. This is less a point Vogt is making than it is something he takes advantage of in his storytelling.

There are some special effects in The Innocents, but to say they are used sparingly is an understatement. Whether or not this is the result of budget limitations, it’s ultimately effective. Even when effects are used, they are always subtle and brief. The purpose of this film seems to be less spectacle than it is sustained tension, of which there is plenty. And in another sign of different rules than a typical Hollywood movie, both adults and children alike—in addition to animals—can be potential victims.

The Innocents is not excessively disturbed, but it is unafraid to go in disturbing directions. I’ve seen scarier films and I have seen more deeply unsettling films, and yet this one is unsettling in a way, somewhat vague, but unlike any other. It took quite a while for it to really hook me in, but its ability to sustain a consistent tone is something I can respect.

Overall: B