Film
The Reckoning
Other titles called The Reckoning: the 1970 film, the 2004 film.
- Horror
- Very dark
A 2021 horror-drama set during England's witch trials, following a widow falsely accused after rejecting her landlord's advances. It's a brutal, claustrophobic film that blends period cruelty with psychological horror, exploring how trauma and isolation can fracture the mind. For those drawn to historical horror with real teeth and feminist rage underneath.
If you liked this
The Witch2016
Robert Eggers' debut uses period authenticity and slow-burn dread to create genuine horror from religious paranoia and family breakdown. Visually stunning and genuinely unsettling without relying on jump scares.
But The pace is glacial and the dialogue is deliberately archaic, which distances some viewers. If you need plot momentum, this will frustrate you.

Crimson Peak2015
Guillermo del Toro crafts a gothic romance-horror hybrid with stunning production design and a genuine ghost story at its core. Intelligent, beautifully made, and actually scary in quieter moments.
But It pivots toward romance in ways some horror fans find distracting. The pacing occasionally favours atmosphere over narrative drive.

Promising Young Woman2020
Emerald Fennell's revenge thriller examines institutional violence against women with unflinching specificity. It's taut, darkly funny, and structurally brilliant—a film that trusts its audience completely.
But The subject matter is genuinely difficult. Some viewers find the tonal shifts between comedy and trauma jarring rather than effective.

Not sure tonight? Get a pick in a minute, starting from The Reckoning
The wildcard
Something you would not have found on your own.
Suspiria1977
Both films use the female body as a site of violation and horror, and both trust visual language and atmosphere over exposition. They explore how isolation and institutional power can trap women in nightmare logic.
Dario Argento's giallo masterpiece is fever-dream horror—visually baroque, brutally violent, and unconcerned with realism. It finds the uncanny in dance, architecture, and sound design rather than plot.
But The narrative is deliberately fractured and dreamlike. Italian dubbing feels strange to English ears. If you need clarity or conventional story logic, this will enrage you.

More like this (8)
Suspicion1941
A Hitchcock thriller where a woman suspects her charming new husband of plotting to kill her. It's paranoia and gaslighting before those words existed, and it's incredibly tense.
But The ending is famously compromised by studio interference and feels deflating. The pacing in the middle sags occasionally.

The Crucible1996
Arthur Miller's play adapted to film with Daniel Day-Lewis and Winona Ryder. It captures the hysteria and injustice of the Salem trials with moral clarity and genuine dramatic power.
But It's literarily faithful to a fault—dialogue-heavy and theatrical. Some find it stagey rather than cinematic.

Blackwood2014
A British horror film about a woman accused of witchcraft during the English civil war. It shares The Reckoning's commitment to period detail and historical injustice as horror.
But Low budget shows in the production values. The pacing is uneven and some performances feel underbaked.

The Woman in Black2012
A genuinely creepy ghost story with Daniel Radcliffe, set in Edwardian England. It's old-fashioned horror done well—atmospheric, carefully constructed, and surprisingly effective.
But It doesn't reinvent the haunted house formula. If you've seen similar films, you'll predict most beats.

Under the Skin2014
Jonathan Glazel's science-fiction horror is hypnotic and deeply unsettling. Scarlett Johansson in a role that undoes everything you know about her—mesmerising and genuinely strange.
But The plot barely exists. Long stretches of ambient dread will bore anyone expecting conventional narrative or dialogue-driven drama.

The Invisible Man2020
Leigh Whannell's update uses sci-fi to examine invisible domestic abuse and gaslighting. It's clever, tense, and makes the invisible threat genuinely visual through smart filmmaking.
But The social commentary is sometimes heavy-handed. Some viewers find the final act action movie tonal shift betrays the quieter horror that preceded it.

A Dark Song2016
Both centre on a woman alone, psychologically disintegrating under external and internal pressure. Both suggest the boundary between possession and trauma is almost nonexistent.
An Irish indie supernatural drama about grief and redemption, set almost entirely in one room. It's slow, meditative, and deeply moving—horror as spiritual reckoning rather than spectacle.
But Nothing happens for long stretches. It requires patience and emotional vulnerability. The horror is existential rather than visceral.

Häxan1922
It's perhaps the only film that predates and contextualises the witch-trial hysteria The Reckoning dramatises. It asks the same question: where does belief end and madness begin?
Benjamin Christensen's Swedish documentary-essay about the history of witchcraft is visually astonishing and genuinely strange. Silent, theatrical, often darkly funny—it feels like watching someone's fever dream about medieval persecution.
But It's nearly 100 years old and genuinely surreal. The tonal shifts between documentary and staged horror sequences are jarring. Some sequences are genuinely grotesque in ways modern audiences rarely encounter.

People
Cast
Charlotte KirkGrace Haverstock
Sean PertweeJohn Moorcroft
Steven WaddingtonSquire Pendleton
Joe AndersonJoseph Haverstock
Suzanne MagowanUrsula
Ian WhyteLucifer- Callum GouldenEdwin Oswald
- Sarah LambieKate Tobias
Leon OckendenMorton Tobias
Emma Campbell-JonesJane Hawthorne
Mark RyanPeck
Bill FellowsSutter
Directing
- Neil MarshallDirector
- David CrabtreeFirst Assistant Director
- Anna Lilla SzabóSecond Assistant Director
- Ádám KolosThird Assistant Director
- Andor BerényiThird Assistant Director
Writing
- Charlotte KirkScreenplay
- Edward Evers-SwindellScreenplay
- Neil MarshallScreenplay
- Antony JonesStory
- Edward Evers-SwindellStory
Production
- Jeremy ZimmermannCasting
- Mária BorossCasting
- Balázs PethõCasting Assistant
- Irene IliasCasting Associate
- Levente SalmaData Management Technician
- Arianne FraserExecutive Producer
- Charley McDougallExecutive Producer
- Charlotte KirkExecutive Producer
- Delphine PerrierExecutive Producer
- Henry WintersternExecutive Producer
- Jamie McLeod-RossExecutive Producer
- Luke TaylorExecutive Producer
- Matthew HeldermanExecutive Producer
- Neil MarshallExecutive Producer
- Sean Patrick O'ReillyExecutive Producer
- Mária BorossLocation Casting
- Ami FrancisPost Production Accountant
- Daniel-Konrad CooperProducer
- Esther TuranProducer
- Michael MarksProducer
- Steffen WildProducer
- Stephen NaullsProduction Accountant
- Fürst BenceProduction Assistant
- Hajnes BalintProduction Assistant
- Megan JonesProduction Assistant
- Péter KarácsonyProduction Assistant
- Tamas LakatosProduction Assistant
- Zsófia KövágóProduction Coordinator
- Nikolett MeisterProduction Manager