Overview
Zachary Wigon’s Victorian Psycho moves with a prickly mood and a gothic edge, but it stumbles over ideas. The film leans into a moorland atmosphere while chasing a sharper satirical bite that never fully lands.
The story follows Winifred Notty, a governess played by Maika Monroe, who arrives at Ensor House to tutor two children after a string of unsettled jobs. Her promise to guide the pupils toward “smarts, but not too smart” sets up a conflict between propriety and a growing urge for violence.
Winifred proclaims she is the sanest person in the room, even as a gardener disappears and whispers of a woods-dwelling ghoul swirl around. The estate becomes a stage for her unsettling impulses.
Virginia Feito’s novel provides the backbone, with Feito adapting the screenplay for the film. The setting is Yorkshire’s windswept moors, which amplifies the tension.
The picture leans on echoes of American Psycho, but the satire lands unevenly. It nods to a famous critique of consumer culture, yet it struggles to carve out a distinct target.
Winifred’s rhetoric about a lurking darkness grows along with her dangerous outbursts toward the pupils. The third act offers a justification that feels worn and conventional.
Cinematographer Nico Aguilar adds style, and the editing by Dustin Chow and Lance Edmands keeps the pace lively. But glossy craft can’t compensate for a story that never quite takes flight.
Maika Monroe anchors the central role, with Thomasin McKenzie and Jason Isaacs providing sturdy support. Still, the material curtails their range.
In sum, Victorian Psycho is a mood piece that aims for a sharper bite but returns to familiar territory. It breathes atmosphere and flashes of wit, but the final impact feels conventional. Fans of Wigon’s earlier work may hope for more, but this one narrows its scope instead.
Source: Original article
