The premise for this horror train is a potent notion, one that may have yielded a chilling work of Mitteleuropean people horror: the Pied Piper of Hamelin is a supernatural being nonetheless kicking across the German city, luring kids to their deaths as punishment for fogeys’ sins. Sadly, the film-makers fluff the temporary, with an excessive amount of displaying and telling and never sufficient simmering thriller. That mentioned, the top result’s so comically tawdry and foolish you possibly can’t however marvel if its all a little bit of a tongue-in-cheek goof, a gag that Elizabeth Hurley a minimum of appears to be in on, judging by her ripe, almost-winking efficiency. Let’s hope she had enjoyable capturing it and received to maintain a few of the lush knitted jumpers her character wears all through.
Hurley performs Liz Haines, a highschool historical past instructor who arrives in Hamelin together with her American-accented teenage daughter Amy (Mia Jenkins) to take a job at a neighborhood non-public college. A part of the deal is that mom and daughter get not solely a free college place for Amy but in addition a medieval home to remain in. Later, it seems to have been occupied by one other instructor whose youngster we see killing himself within the opening scene. Quickly Amy’s fingers are being nibbled by rats within the evening, whereas different rodents bedevil Liz within the kitchen, scurrying about regardless of a colleague’s insistence that the city has no rats in any respect.
In response, Amy grows up terribly quick, and goes from clutching a dolly in mattress to accepting the romantic overtures of a Scots-accented swain with boyband hair named Luca (Jack Stewart). He and his witchy granny (Tara Fitzgerald) attempt to shield Amy with particular tablets and an insistence that she will need to have religion – however one thing depraved is stirring within the metropolis’s catacombs and the native church’s confessionals. (Aspect observe: no matter occurred to the color promised by the “pied” a part of the Pied Piper’s sobriquet?)
Director Anthony Waller lays the cheese on thick within the ultimate act, with kids sleepwalking like little zombies whereas singing a ditty that appears like a scale for instructing children about minor keys. There’s simply an excessive amount of occurring, with the romance between the 2 youngsters particularly redundant, however maybe that’s a sign of who the film-makers assume this nonsense is for.
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