There are certain formulas that are so overused in horror films, that as soon as you hear the premise, you can predict exactly how the rest of the story will play out. Shudder’s newest original movie, From Black, takes a tried-and-true approach into the grief-stricken parent premise, which at this point is almost a genre unto itself.

Recovering drug addict Cora (Anna Camp) is heartbroken and guilt-ridden over the loss of her young son, Noah (Eduardo Campirano), who went missing years ago while in her care. Though she’s since sobered up, she can’t get over the blame she places on herself, as she was drugged out when he wandered off, and was eventually presumed dead. She attempts to ease this pain by attending a grief support group, which is where she meets Able (John Ales), who offers her a bizarre opportunity to have the chance to bring her son back.

Able tells Cora about a ritual that can be performed that would give her the ability to see Noah again, and she inexplicably accepts with little hesitation. The movie tries to play this off as sheer desperation on her part, but it still feels odd and abrupt that she is so accepting, especially given Able’s strange demeanor and invasive questions. Nevertheless, Able is soon at her house, ready to perform said ritual, complete with candles, salt, symbols drawn on the floor…even a sacrificial goat. 

It shouldn’t come as a surprise if this is all starting to sound familiar. A parent being offered the chance to bring their dead child back is a premise seen in countless horror movies over the years, and even taking that storyline out of the equation, the ritual itself is as typical as they come. It does, however, give the chance to highlight the impressive effects during these scenes. The makeup, sound, and special and practical effects all blend together seamlessly to amp up the horror factor, but in a more subdued way than over-the-top scares.

Writer/director Thomas Marchese, along with co-writer Jessub Flower, does add some character depth in between this with scenes involving Cora and her police officer sister, Bray (Jennifer LaFleur). Mostly, though, this is a plot device used in the form of flashbacks to tell the story of what happened when Noah disappeared, as well as the events of the ritual itself. This ends up causing some confusion, as the flashbacks tend to weave in and out of present day time so much that it’s difficult to keep up. 

The cinematography and set design help add to the subdued, muted tone of the story, along with Luigi Janssen’s heavy, foreboding score. If not for these, and the few genuinely chilling moments aided by makeup and SFX, From Black would likely suffocate under its own slog. While there isn’t necessarily anything inferior when it comes to the overall plot, there also isn’t anything particularly spectacular or new. 

Ultimately, this is a fairly standard addition to an already saturated subgenre, that saves itself, only slightly, by providing a few eye-pleasing moments. 

5.5 Out Of 10