Baghead Review: London Girl Inherits One Hell of a Haunted Pub

Get ready for a spooky new flick that puts a freaky spin on speaking with lost loved ones. Baghead comes from first-time director Alberto Corredor, expanding on his earlier short film about a burlap-headed demon that can temporarily revive the deceased. Yeah, you read that right.

The story follows Iris, played by up-and-comer Freya Allan, who inherits a questionable gift along with her late dad’s creepy Berlin pub: access to a basement-dwelling witch known as Baghead. Pop a personal item from someone who’s passed on into her sack-covered head, and Baghead morphs into them for a brief returning appearance among the living. But break the two-minute chat limit and all hell breaks loose.

Along comes Neil (Jeremy Irvine), who lost his wife and will try anything for closure. But tapping into grief like this can’t end well. As Iris starts peeling back her dad’s secrets, she sees the real horror of her so-called inheritance.

Between chatter with corpses and confrontations with loss, Baghead brings thoughtful scares. But can it deliver more than your average horror? We’ll have to peer under Baghead’s sack to see…

Messed-Up Inheritance Comes With a Catch

Iris discovers she’s inherited a questionable gift along with her estranged dad’s dusty Berlin pub: access to a demonic doll in the basement called Baghead. Homegirl rolls up to her deceased dad’s super creepy bar only to find out she’s now stuck with his supernatural pet tenant.

As the story goes, Baghead’s got a gnarly ability from centuries back: swallow someone’s personal item, and the burlap-headed witch morphs into the ghost of whoever owned it. Iris can then chat them up for two minutes before she’s gotta banish Baghead back to the basement. But pass the deadline, and Baghead busts free to unleash deadly havoc. Casual!

Desperate times call for desperate measures, so when grieving widower Neil shows up begging to talk to his dead wife and waving stacks of cash, Iris figures what could go wrong? Babysit Neil for two minutes without ticking off the demon in her basement—easy enough payday, yeah?

Down in the lair, Baghead works her witchy magic to summon Neil’s wife, but something feels off. The next day, Neil vanishes, and Iris finds the basement in shambles. Her bestie Katie urges her to ditch this whack inheritance ASAP, but Iris gets nosy digging into the mystery of Baghead and her dad’s secrets instead. Big mistake. When Iris goes back for answers, she learns the chilling truth of her “gift” as all hell breaks loose.

Chatting with the Dead Ain’t All It’s Cracked Up to Be

Look, we’ve all lost someone too soon. And given the chance for a last convo from the great beyond? Honestly, we’d probably take it. Who can resist closure from the dearly departed? But Baghead makes you think twice about meddling with life and death like this.

The movie digs into some heavy ideas around grief. Like, is dredging up the dead for our own peace of mind ethical when they already shuffled off this mortal coil? And could a brief last call actually help heal our hurt? Or would it just reopen wounds that should stay shut?

Baghead also plays with the thought of putting a timer on connecting with loved ones. If you had limited minutes to ask that nagging Q before someone vanished forever, would you waste time on small talk? Probably not. But the ticking clock pressures characters here into blurting things they can’t take back.

And even when dead peeps reappear looking normal, something sinister still lurks right under the surface. So is contacting spirits just asking for trouble? At what point should the living let the past fall silent? Baghead keeps it creepy with these themes of grief, morality, communication, and time running dry for closure.

Where Baghead Brings It…And Where It Falls Short

First up, let’s give Baghead some props for knowing how to creep us out. Between an ominous soundtrack and dim lighting that leaves plenty to the imagination, the movie delivers on skin-crawling atmosphere. And it throws in just enough jump scares to keep you upright in your seat without going overboard. The story’s also a refreshing spin, letting the dead call the shots to give the living a haunting earful.

And anchoring it all is a killer performance from young actress Freya Allan as lead girl Iris. She nails that wide-eyed look of someone trying hard not to completely lose it in the face of fear. Even when plot problems arise, Allan’s emotional commitment makes you want to stick with Iris.

But Baghead does hit some bumps as things unravel. We get only quick snapshots of the other characters, making it tougher to connect and care when bad stuff goes down. The story occasionally trips itself up trying to explain the mismatch between the dark fantastical bits and the modern-day setting. And just when it’s ramped up the eeriness, the ending takes a detour, rushing towards the usual slasher climax to wrap things up.

So while Baghead brings thought-provoking scares and a gutsy lead actress to the party, some plot and tonal issues muddy the goods times a bit. But horror hounds who can forgive a few flaws will still find a creepy good time here. I’d say give this unusual dead-talking genre entry a shot if the premise intrigues you. Just don’t expect everything to tie up perfectly.

Closing Thoughts: A Fresh Dead-Talking Premise That Could Have Hit Harder

There’s no denying Baghead brings the tension, from an unsettling mood to well-placed jump scares that catch you off guard. And seeing the living confronted by once-dead loved ones proves seriously thought-provoking. Who hasn’t wondered what secrets our lost friends and family might spill if they could come back to chat?

But the emotional punch suffers a bit with lead characters who come off fairly one-note. When the demon witch starts her deadly rampage, it’s tougher to feel invested in the survival of personas we haven’t gotten to know that well. The writers also don’t quite reconcile the collision between the story’s old-world supernatural vibe and its present-day setting.

Just when Baghead seems poised to deliver a killer finale though, it swerves into typical slasher climax terrain that mutes the inventive spirit. Our poor heroine even ends up fleeing the baddie through a conveniently placed burning building! Because…horror rules? After teasing thoughtful scares, the standard showdown feels like a cop-out.

Yet despite stumbling on the landing, you’ve gotta applaud Baghead’s outside-the-box concept. In a genre crowded with bump-in-the-night plots, the chance to confront closure with limited time oozes eerie originality. And newcomer Freya Allan brings so much emotional truth that she sells the construct. Here’s hoping if there’s a Baghead 2, the minds behind this invitingly creepy premise can smooth out the kinks. Because with some fine-tuning, this could be one hell of a horror franchise.

For now, catch Baghead if you dig fresh spooky ideas, just brace for an imperfected but fun descent into moral quandaries with the dead. Let’s call it a solid first effort with hella scary promise.

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