In the CGI era, practical effects are fast becoming a lost cinematic art. On that basis alone, then, we should be grateful for Unwelcome. Clearly influenced by 1980s creepy-critter horror-comedies like Gremlins or Ghoulies, this is a film that benefits greatly from the practical execution of its puckish perils, a glorious hark back to an era when tiny imps really did look like they could scratch your eyes out.
Director and co-writer Jon Wright has some experience in this field, bringing many of the talented team that worked on his earlier horror pics Grabbers and Tormented. But he is cautious and sparing in his use of the far darrig, the leprechaun-like sprites we’re all here to see, which don’t really show up until about an hour into the runtime. This is a film that draws not only from Celtic folklore, then, but also 1970s home invasion films, and what it means to be a mother.
The ingenious blend of traditional and modern techniques that bring the goblins to life are brilliantly executed.
That means that it often feels a bit jarring in terms of tone. There’s some not-especially-subtle commentary on Anglo-Irish tensions, nods to films like An American Werewolf In London and Straw Dogs, and a surprising guest appearance by Game Of Thrones’ Hodor (Kristian Nairn). It features some surprisingly distressing and repeated violence towards a pregnant woman; yet this is a film which also features a giggly goblin who says things like “Silly billy!”
It’s trying to be sombre, scary and stupid, with dialogue that sounds laboured (“Your aunt Maeve just died!” one character over-explains) while also hammering home the film’s themes (“Mothers are capable of crazy shit!”). It seems to have about three or four plot threads competing with one another at any given time.
Yet all this is easily forgiven, as the thread that ultimately wins is that of the far darrig. These goblins live in the forest, demand a blood sacrifice, and will gleefully defend their territory by any means necessary. The ingenious blend of traditional and modern techniques that bring them to life are brilliantly executed and their practical interactions with the actors are a genuine thrill to watch, leading to a truly insane, blood-soaked finale. It’s only a shame we don’t see more of them. Time for ‘Unwelcome 2: The New Batch’?
