The Forest Hills

The Forest Hills

The Forest Hills (2023) is a psychological horror film written and directed by Scott Goldberg, with a notable performance by Shelley Duvall—returning to the screen for the first time in two decades. This indie horror project aims to explore the fractured mind of a man suffering from deep trauma, with elements of body horror, lycanthropy (werewolf mythology), and emotional breakdowns woven into a surreal, often disorienting narrative.

The story centers on Rico, a man who survives a traumatic head injury during a camping trip in the Catskill Mountains. Following the incident, Rico begins to experience terrifying visions, violent outbursts, and intense paranoia. As he attempts to reenter society and reconnect with people in his life, it becomes increasingly clear that something inside him is unraveling—possibly something monstrous. Whether Rico is turning into a werewolf, descending into madness, or both is left intentionally ambiguous, feeding the psychological tension that drives the film.

Rico’s inner torment is amplified by dreamlike hallucinations and encounters with figures from his past and imagination. One of the most intriguing aspects of The Forest Hills is the presence of Shelley Duvall as Rico’s mother. Her ghostly and maternal presence serves as a tether to his fractured psyche, evoking both comfort and dread. Duvall, famous for her iconic role in The Shining (1980), brings quiet gravitas to the film, despite limited screen time. Her casting adds a meta-horror layer for fans familiar with her own past portrayals of psychological deterioration.

The film blends indie horror aesthetics with classic werewolf mythology, though it eschews traditional monster tropes in favor of a more introspective, atmospheric approach. Instead of focusing on physical transformation or gore, The Forest Hills explores the metaphor of the “beast within”—using the idea of lycanthropy to represent rage, trauma, and isolation. The film borrows visual and tonal cues from '70s and '80s horror, particularly in its grainy textures and moody lighting.

While The Forest Hills has ambition and a strong emotional core, it’s not without flaws. Its pacing is uneven, with long, introspective sequences that sometimes stall momentum. The plot can feel fragmented, echoing Rico’s fractured mental state, but this can also leave viewers feeling disconnected from the central narrative. However, for audiences who appreciate atmospheric horror over straightforward storytelling, these elements may feel purposeful rather than distracting.

One of the film’s strengths lies in its use of setting. The forested landscapes and isolated cabins create a haunting backdrop for Rico’s descent into madness. The cinematography leans into this, often framing him as a lone figure dwarfed by nature, suggesting his lack of control over the forces—real or imagined—that surround him.

Ultimately, The Forest Hills is a character-driven horror film that deals with psychological trauma, identity, and primal fear. It’s less about the scares and more about the emotional and mental disintegration of its protagonist. For viewers who enjoy slow-burn, experimental horror with an arthouse feel—and the return of Shelley Duvall—it’s a fascinating, if uneven, experience.