Sitges 2024: ‘The Rule of Jenny Pen’ is an Instantly Iconic Horror Film
by Alex Billington
October 13, 2024
Who rules? Jenny Pen rules! Holy freaky hell this film is an instant horror classic. Yes, seriously. A knock out. What a film! What a fright! A new horror icon is born. The Rule of Jenny Pen is an outstanding new horror feature from New Zealand that premiered at Fantastic Fest 2024 before touring to 2024 Sitges Film Festival for its European debut. I’m so glad I was there to witness it and incur the wrath of Jenny Pen. As always, the best horror films are experienced with passionate horror audiences watching something together for the very first time, fully into the screening, cheering and applauding and gasping when all the craziest moments happen. The Rule of Jenny Pen isn’t really the scariest horror film, and it doesn’t really need to be. Modern horror doesn’t have to be “scary” anymore to be good, that’s obvious by now. But it is terrifying in an extraordinarily disquieting “I never, ever want to experience anything like this in my life ever” way. A guy who wears a doll on his hand torments old people? Ohh hell no. This is such a bonkers horror concept that shouldn’t really work at all, but it does, oh it totally does, especially with this great cast and this filmmaker.
The Rule of Jenny Pen is a suspenseful, elevated horror movie set almost entirely in an elderly care home. It’s directed by Kiwi filmmaker James Ashcroft, bringing us his second horror feature following up 2021’s Coming Home in the Dark, with a screenplay co-written by James Ashcroft and Eli Kent, based on the short story by Owen Marshall. You’d never believe they could pull off a clever horror concept set at an elderly care facility where one of the kooky old residents goes around with a doll on his hand using it to torment others and scare them all, but DAMN this is a knock out. Didn’t even want it to end, would’ve been happy to keep watching – I was glued to my seat. The film had me fully invested in the story, genuinely freaked out by what was happening, caught up in hoping the residents would soon defeat this sick bastard, and frightened by the imagery even though there isn’t much gore at all. This is how you make an unsettling horror film without resorting to blood and guts and violence. Though there is violence, it’s just much more uncomfortable than it is grotesque. And best of all – there are a shocking number of perfectly lit, perfectly composed horror shots that will make you want to burst out into applause right then and there because all of it looks so damn good.
It’s an instant horror favorite this year, unquestionably one of the best genre discoveries of late 2024 – the filmmaking choices and disturbing intensity and freaky thrills and originality are all off the charts. And the two lead performances are exceptional and make it all believable and extremely unsettling. Geoffrey Rush stars as a stern judge named Stefan whose body begins to fail him after a stroke, so he’s sent into this care facility. John Lithgow co-stars as his tormentor Dave, another resident there who seems a bit off of it, who also hides a dark side all the while convincing the orderlies he’s harmless. Then there’s Stefan’s roommate Tony, played by Māori actor George Henare, an ex-rugby star who ends up being one of the coolest side characters in this and an important part of the plot. And finally we can’t forget Jenny Pen, the titular star of this horror film who is the unrelenting ruler of this home. On paper, a simple plastic doll puppet doesn’t seem that scary, but that’s part of the magic of this film. She’s horrifying! The way the lighting makes her eyes glow had me second guessing whether or not there’s a supernatural side to this story subtly hinted at. Maybe there is? Her closest companion is Chucky but Jenny is a horror villain deserving of her own acclaim.
As engrossing as it is to watch this story of elderly men unfold, it only bothered me that it’s so relentlessly brutal towards the protagonists. These poor old folks. I hate seeing anyone tormented without any chance of escape or recourse, it’s the worst. But there is a lesson to this, I believe. There is a point to all of this fright, thankfully, as it is irrefutably a smart horror movie with a conscience. That’s what impressed me about the filmmaking – at the end of it all it isn’t merely horror for horror’s sake, it’s empathetic horror with a thought behind it. Bravo, James Ashcroft. Everyone involved should be proud, introducing a new horror concept and sending her to great heights all the while earning acclaim with horror audiences. Beware the rage of Jenny.
Alex’s Sitges 2024 Rating: 9.5 out of 10
Follow Alex on Twitter – @firstshowing / Or Letterboxd – @firstshowing
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