Inherit the Witch (2024) film review

Inherit the Witch (2024), directed, co-written by, and starring Cradeaux Alexander, is an ambitious attempt at psychological horror through means of generational trauma. Filmed almost entirely with handheld cameras – sometimes for logical reasons, sometimes seemingly for effect – Inherit the Witch barrels between claustrophobic and agoraphobic, with most of the action taking place in two houses.

We’re shown handheld camera footage of an important day in 1984, with twins Jessie and Cory celebrating their 14th birthday with a joint party in the family basement. Throughout the course of the film, as secrets are revealed and the extended family come to blows with each other, more of the footage is shown until we have a full picture of exactly what happened that fateful night, and whose fault it was.

In the present, the remaining family gathers near the New Forest for the funeral service of their father. Each child of the dead man has their own trauma, their own way of handling things, from the cold-hearted Cory to the natural healing-obsessed Fiona – and as they clash, we begin to understand more about the dark dealings that have kept this family fortunate for such a long time.

And it all, really, comes down to Pamela. First seen in the 1984 footage as a glamorous young woman with long blonde hair, we eventually see her in the present in her aged form, the grieving widow of the man she stole from his wife. The young half-brother Rex is clearly entranced, and she already has a young Cory fully under her spell.

In the present, Pamela is old and ailing, supported by Rex who is clearly learning her arts. His skills are quite impressive, causing Fiona’s bike to crash and possessing Lars (seemingly through means of spiritually fish-hooking him).

While some of the shots were interesting, the use of handheld cameras even when there was clearly no one holding a camera was jarring, and quite often motion sickness-inducing. And yet, despite one of the central characters having a GoPro on her forehead, we rarely see any of the footage.

Much of the story revolves around Cory and Fiona’s fraught relationship. They are such drastically different people that it almost feels like they’re from different films entirely – Cory some Hammer Horror remake and Fiona a Bridesmaids-esque offbeat comedy. Fiona wants to discuss their childhood trauma, but Cory is unable – or unwilling – to face up to his past.

This film is lauded as an LGBT horror, and with the main character’s central relationship being a highly sexually charged gay one, it definitely fits the theme. Cory and Lars’ relationship is like a teenage one – constantly going at it, or sulking at each other – but at least it is a central queer romance.

Inherit the Witch is built on interesting ideas, but ultimately the execution failed to live up to them. Hampered by unimaginative and unnecessary uses of the found footage trope, poor-quality acting, and B movie-esque sound effects, it’s, unfortunately, unsuccessful in delivering a feeling of horror.