The Rule of Jenny Pen - Film Review

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Posted 2025-02-08 by Nessa123 ⇒ follow

James Ashcroft's latest film is a chilling and deeply unsettling exploration of vulnerability, powerlessness, and the haunting fear of losing control over one's body. Following his critically acclaimed Coming Home in the Dark (2021), Ashcroft delivers another profoundly disturbing narrative, this time tapping into the real-life anxieties many of us face as we grow older: the fear of our bodies betraying us, the loss of autonomy, and the dark possibility of abuse lurking in the shadows.

Geoffrey Rush expertly portrays a former judge who suffers a debilitating stroke, leaving him trapped in his own body and stripped of everything that once defined him. His struggle to navigate this new, terrifying reality is heartbreakingly relatable, especially as his body becomes more of a prison than a vessel. The film doesn’t shy away from portraying the harshness of ageing and the profound isolation that comes with it, making it all the more jarring when a sinister presence begins to emerge in the nursing home.

John Lithgow’s disturbing portrayal of an elderly resident who wields a frightening hand puppet to torment others is nothing short of chilling. On its own, the puppet, named Jenny Pen, would be fairly benign, however, her lifeless eye sockets, coupled with the twisted way she’s used as a tool for manipulation, make her an unsettling presence that lingers in the mind long after the film ends. It’s not just the puppet itself, but the way Lithgow's character uses her, adds a layer of eerie, sinister menace.

The horror is amplified by the judge’s desperate attempts to seek help, only to be dismissed by those around him. The crushing fear of being disbelieved is powerfully portrayed - his cries for help are brushed off, making his isolation even more terrifying. The film taps into the very real fear that, when one is most vulnerable, even the most serious allegations can be ignored or trivialized.

The performances are stunning across the board, with Geoffrey Rush’s vulnerable and tortured portrayal making the character’s suffering painfully real. Lithgow, with his nuanced, terrifying turn as the manipulative puppet master, brings an eerie calmness to his character that amplifies the horror. The combination of writing, direction, and acting creates a story that feels tragically plausible - this is something that could really happen.

Visually, the film is beautifully crafted. The cinematography uses light and shadow to heighten the sense of confinement and paranoia. Ashcroft’s direction is flawless, letting the tension build and creep under your skin, while the eerie humour in places provides brief, uncomfortable relief before it takes an even darker turn.

One of the most disturbing elements is the film’s unflinching portrayal of the elderly’s fears of manipulation and abuse, but it’s the subtle layers of terror that will linger long after the credits roll. You’ll find yourself second-guessing your own perceptions of safety, especially when it comes to the most innocent of objects - yes, you'll never look at a baby doll the same way again & you may find yourself joking about licking them too!

This film will leave you haunted, quoting lines and reflecting on its chilling implications about ageing, power, and the terrifying fear of losing oneself. If you’re looking for a film that disturbs you on a deeply personal level and sticks with you long after, Ashcroft’s latest is a must-see. It’s darkly humorous, frighteningly realistic, and undeniably unforgettable.