A by the numbers psychological thriller that offers nothing new to the genre but manages to bring enough visual flair to maintain an interest.

M. Night Shyamalan has a lot to answer for. It is as a direct result of his twisting turning ways that modern audiences know when to expect the unexpected within a film. More importantly though it is because of his success that filmmakers have felt the need to cash in by keeping the audiences, in theory, one step behind the film at all times. Shelter is a film that continues the trend but never convinces in the mystery stakes.

Dr. Cara Jessup (Moore) is a forensic psychologist who specialises in disproving multiple personality disorder. Her father sees a chance to present her with Adam (Rhys Meyers), a patient whose other personalities are all dead. Delving deeper into Adam’s various guises Cara begins to realise that he may not be the charlatan first believed. As Cara begins to get to the bottom of the case she is confronted by a truth that cannot be explained by simple psychology. Perhaps the faith that she holds so dear, in spite of her husband’s brutal murder, will help her cure Adam from more than just his sanity.

The main problem with Shelter is that it feels all too familiar. At points it reminds you of The Ring (1998) with its sinister locations and disturbingly starring children. That it shares producer Mike Macari with the American language remake of the film goes some way to explain this. However, the déjà vues do not stop there. With the multiple personality disorder taking central stage it is reminiscent of the brilliant Primal Fear (1996) and more importantly the curious, but flawed, Identity. Again Shelter’s writer Michael Cooney also wrote that script.

These similarities mean that, at no point, does the film offer up anything original. Instead it feels as though we are treading on very tested ground thus reducing any sense of suspense. So when Cara is shown a silent film of a faith healer who has murdered his children you know that it is far more important than a little piece of history. That a key character’s face is hidden, within the silent footage, makes it all the more clear we are witnessing the true nature of the crimes. Furthermore, it looks like the grainy video footage in The Ring which has been used to death by countless other horror offerings.

Where it does work though, is in the visual execution of directors’ Marlind and Stein. They find a certain Hitchcockian feel that heightens the atmospherics to enjoyable levels. Yes they rely too much on increased volume to evoke jumps rather than a well crafted scare but the look is brilliantly gothic noir. In their first venture into English language films they bring a bleak back lit silhouetted aura that lends itself to the dark nature of the psychosis of the characters.

In many ways the cast are simply here to facilitate the script’s twists and turns while never telegraphing what may come. Rhys Meyers is an actor that constantly flatters to deceive and here is forced to play numerous parts, all of which he fails to bring enough distinction to. Consequently the only way to know which character we are listening to is for them to have a particular prop like a wheelchair or with an immediate address of his relation to Cara. Julianne Moore is always one of the most dependable screen actresses of the modern era. Her script selection is hit and miss though. For every Magnolia or The Hours there is a Next or The Forgotten. Unfortunately Shelter falls into the latter category. While her performance is solid it feels like she is simply phoning it in rather than breaking out the big gun acting talent that she repeatedly demonstrates in more challenging films.

An enjoyable yarn that will have horror fans screaming the truth of the story for a good hour before it is revealed. Moore and some stylistic execution do just enough to make sure this shelter lasts the stormy origins.

Extras: Cast and Crew interviews with Julianne Moore, Jonathan Rhys Meyers and Directors Mans Marlind and Bjorn Stein