Set in the gritty underworld of Manchester’s Northern Quarter, HABIT explores some of our most primal fears and desires. After a somewhat conventional opening forty-five minutes, we’re dumped into scenes akin to those one could only imagine have been inspired by a horrifying acid trip. Director Simeon Halligan’s adaptation of the original novel by Stephen McGeagh boasts a grotesquely fascinating turn of events that delves deep into the psychosis, and will leave you pondering what humankind is truly capable of.
Beginning with a typical sepia soaked flashback, classic sweeping shots, a beautifully scored piano piece, and an introduction to Michael (Elliot James Langridge), subtlety seems to be the name of the game. Michael is a relatable and sarcastic hero, down and out, and plagued by his past; fighting inner demons and the dole office. A chance encounter with Lee (Jessica Barden), cute and unassuming with unparalleled confidence, introduces him to the seedy backstreets of Manchester’s “alternative” clubs, and the massage parlour, Cloud Nine. The allure of sex and a cash-in-hand job is too much for Michael to resist, and down the rabbit hole he goes.
It would be prudent to mention the quality of the setting and set design, and the way that Halligan has managed immersion through his shot selection. The fluorescent flashes complement the darkness, the telling red lighting illuminating gloom does nothing to dispel any myth surrounding them, yet it is done in an unobtrusive way that draws the audience in. So simplistic, but intelligently constructed to develop feelings of longing and attraction to an underbelly shrouded in taboo.
The latter half of HABIT forcefully plunges the viewer into a sick and twisted environment. Even to the extent that will generate bile forming in the back of the throat of the most seasoned horror viewers. Reeled in by the temptation of sex and the mysterious Alex (Roxanne Pallett), Michael is subjected to a grizzly cult of individuals declaring themselves “family”, headed by “Uncle” Ian, brilliantly portrayed by William Ash. Any tentative approach in building suspense until this point is hurled furiously out of the window, pushing gore, disbelief, and utter disgust to the forefront for the viewer to contend with. Met initially with incredulity, the character development beyond this pivotal moment, especially Michael’s, is enough to keep you locked for the duration despite some lacklustre and questionable plot development.
HABIT is an excellent show of film-making, displaying a plethora of directorial skill. Where in places the storyline is weak, and the motives of characters questionable, the jarringly separate halves are a force to be reckoned with, and not so easily emulated. This is a watch for seasoned viewers, for those that relish a strong show from female leads, and those who’ve craved something more from the horror genre for a long time. You’ll not be left disappointed.
HABIT screens at Cambridge Film Festival at 22:15 on Monday 23rd October at the Arts Picturehouse, click here to buy tickets.