I caught a screening of The Prodigy yesterday, and in hindsight found it apropos that the previews before the start of the film included trailers for the remakes of Child’s Play and Pet Sematary. The basic premise of the former–the posthumous persistence (in pre-adolescent mold) of a killer–is forwarded here, while a central theme of the latter–parental love leading to poor choices and catastrophic consequences–resounds in director Nicholas McCarthy’s film (not coincidentally, Jeff Buhler, the writer of The Prodigy, also scripted the forthcoming Pet Sematary).
In fact, The Prodigy manifests a broad horror lineage. Its most obvious relation is to the Evil Kid film, a subgenre stretching from The Bad Seed to The Good Son (with The Omen in between). But it hearkens back, too, to The Strange Case of Doctor Jekyll and Mr. Hyde, that ur-werewolf narrative (as identified by Stephen King in Danse Macabre) of conflicting figures in a singular body. The Prodigy is arguably also a ghost story–only in this case it’s a house of flesh that’s haunted, and the restless spirit isn’t seeking to have the story of its bloody death unearthed.
Film reviewers have failed to catch an intriguing connection that The Prodigy makes: the name of the paranormal problem child, “Miles,” is also that of the young boy watched over by the governess in The Turn of the Screw. To note this allusion, though, is also to highlight a shortcoming: whereas Henry James’s supernatural/psychological horror novella is a masterpiece of ambiguity (the question of whether Miles has fallen under the evil influence of a ghost is never resolved), The Prodigy (thanks to the precise imagery of its cross-cutting prologue) makes its uncanny aspects clear to the audience from the start. Miles’s parents seem the only ones who haven’t caught on (failing to do so until the boy is eight), and the dramatic irony drags on a bit too long.
The scenes dramatizing early instances of disturbing behavior underwhelm here because they have become overly familiar; like his cinematic brethren, Miles is the bane of babysitters and family pets. McCarthy steers the film in a more impressive direction when he touches on the taboo–the subtle gestures that “Miles” makes toward his mother that raise the specter of incest. For me, the most unnerving moment in the whole film occurred when the scheming Miles, like some juvenile (and decidedly foul-mouthed) Machiavelli, blackmails the reincarnation expert Arthur Jacobson with the threat of alleging sexual misconduct during their hypnotherapy session.
At times, the film’s plot strains disbelief: there’s not a chance in hell that Miles would have been allowed to set foot back into the classroom after his spectacularly violent outburst against a fellow student (the legal repercussions of the incident are completely glossed over as well). Trading in notions of reincarnation, The Prodigy inevitably approaches the hokey, so credible performances are a must. Taylor Schilling gives a strong one as Sarah, a mother beleaguered by her beloved boy’s bad turn. And Jackson Robert Scott is undeniably creepy as the eponymous savant. Scott, who gave his arm and his life to Pennywise as Georgie Denbrough in IT, here plays a role that recalls another Stephen King kiddie: the adorable but deadly Gage Creed in Pet Sematary.
Where The Prodigy really hits its stride is in the home stretch. When Sarah finally realizes what she is dealing with, her actions to save Miles lead to some terrific suspense. The climax ties back nicely to the film’s opening, while also presenting a question likely to linger in viewers’ minds long after the closing credits: How far would you be willing to go to protect the life of your child? I wish more screentime had been devoted to this moral dilemma, which proves much more gripping than the standard scares stocking the first two-thirds of the film.
While falling short of the extraordinary, The Prodigy is an effectively entertaining horror movie, one that just might cause prospective parents in the audience to consider contraception instead.