The Horror film, once a proud mainstay of Great British Cinema, has been merely a ghost for many a year now. Hammer through to Hitchcock left a reputation which kept pulses racing, but down the years the art of horror has changed. Audiences of today would turn to Gore-fests such as Hostel (2005) when looking for chills and thrills. So it is with some relief that The Woman In Black has knocked on our door and entered without permission. The story is a simple one. In the modern age it is incredibly difficult for any horror film to be completely original, whether it is Zombies, haunted houses or missing backpackers, the horror film will always follow certain conventions. Daniel Radcliffe stars as Arthur Kipps, a young lawyer still reeling from the death of his wife. Assigned to manage the estate of a recently deceased plutocrat, Kipps travels to a small village named Crythin Gifford with his career at stake, but the villagers are less than welcoming.  Once inside the house, Kipps starts to understand the villagers’ fears, as he uncovers the dark relationship between the deceased and her sister. The plot is magnificent and the early 20th century setting lends itself well to the horror genre. Such Victorian & Edwardian traits as candlelight always create a wonderfully spooky ambience, and the cinematography is superb. The setting certainly aids the majesty of the art that is demonstrated so admirably here, in a way that has not really been seen since The Others (2001), but doesn’t entirely account for it’s masterful approach to suspenseful filmmaking. Suspense is something that is often missing in modern day thrillers, but The Woman In Black displays a tender attitude towards filmic tension that Alfred Hitchcock would be proud of. A subtle score provides the perfect foundation for director James Watkins to expertly unravel the narrative. There is one instance where the score becomes overdramatic but in the main it is used to wonderful effect, enticing our tense rump onto the edge of our seats, and when the chills come it’s only an emotionless soul that will allow the seat to remain pressed against their skin. A major aspect to the art of filmmaking is the expression of restraint, and Watkins impressively knows exactly the right times to lay on the tension and when to throw in scares. There is not a shock missing or out of place. Of course, every horror film seems to suffer from a certain degree of implausibility, and there are definitely plot gaps and unexplained rationales to be found in this film. But that is only to be expected from films of this subject matter, and should not detract from the pleasurable and fearful viewing of this film. Despite a predominantly impeccable execution, The Woman In Black does occasionally slip into pitfalls that have been laid by preceding examples of the thriller genre, particularly with the inclusion of an unnecessary flashback sequence. This device has been used far too frequently since the success of The Sixth Sense (1999) and in this instance; it only serves as a tool for patronising the audience. Irrespective of the slight flaws in its composition, The Woman In Black is a superb film, and is everything you could ask of a horror film, for, The Woman In Black plays out as an answer to the question: “what would The Wicker Man (1973) be like if it was directed by Alfred Hitchcock”. It’s good to know that suspenseful horror has not completely deserted us, and that it’s those old masters at Hammer that are providing it once again. A truly entertaining film; It has integrity, it has intensity, and oh… it’s got scares.