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The Watcher in the Woods

The Watcher in the Woods

Fantasy · Horror · Thriller · 1980

After an American family moves to an old country manor in rural England, one of the daughters is tormented by the spirit of the owner's long lost daughter, who mysteriously disappeared 30 years ago during a solar eclipse.

Movie details

The Watcher in the Woods

“It was just an innocent game until a young girl vanished...for thirty years.”

1980 Fantasy · Horror · Thriller 1h 23m

Critical arithmetic

One number, for now.

TMDB

5.9 / 10

Community rating

After an American family moves to an old country manor in rural England, one of the daughters is tormented by the spirit of the owner's long lost daughter, who mysteriously disappeared 30 years ago during a solar eclipse.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Watcher in the Woods?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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The Asphyx

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Twice-Told Tales

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A family living on a farm finds mysterious crop circles in their fields which suggests something more frightening to come.

Where it lives

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Names above the title

The people responsible.

Directed by

John Hough · Vincent McEveety

Written by

Brian Clemens · Gerry Day · Harry Spalding · Rosemary Anne Sisson

Bette Davis

Bette Davis

Mrs. Aylwood

Lynn-Holly Johnson

Lynn-Holly Johnson

Jan Curtis

Kyle Richards

Kyle Richards

Ellie Curtis

Carroll Baker

Carroll Baker

Helen Curtis

David McCallum

David McCallum

Paul Curtis

Benedict Taylor

Benedict Taylor

Mike Fleming

Frances Cuka

Frances Cuka

Mary Fleming

Court is in session

Put The Watcher in the Woods on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Prestige Tourist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.