Despite being rated PG-13, The Turning manages to create an unsettling atmosphere with intense acting and cinematography rather than relying on endless gore typically seen in horror movies. 

While it isn’t horribly scary, The Turning still manages to scare viewers, especially those unaccustomed to horror. The incredible child actors, Finn Wolfhard (Miles) and Brooklyn Prince (Flora), sell the movie with their roles as two orphans who torment Kate, the young governess sent to live with them after the passing of their parents and disappearance of Flora’s former governess. 

Miles, in particular, stirs up trouble for Kate, and Wolfhard’s acting certainly leaves viewers impressed and disturbed. He takes on the difficult role with ease and makes it his own. The same can be said for his co stars. Prince is an incredible actress despite only being nine, and keeps up with Wolfhard and Mackenzie Davis (Kate) with ease. 

The cinematography is hauntingly beautiful and transports the audience directly into the setting. The camera panning up a large, gnarled tree invokes an illusion of the branches reaching out in the dark and is a perfect preamble to the upcoming cinematography in the movie. 

But when you reach the story line of the movie, things take a turn. The plot leaves much to audience interpretation, and the ambiguous ending can throw many for a loop. However, I wasn’t as invested in the characters to be impacted much by the ending. After the initial confusion, the strange ending is actually a unique twist on the average story. 

The Turning plays a game with the audience. It spreads obvious hints throughout, seemingly foreshadowing everything, then leaves everyone dazed and confused as questions are left unanswered. This type of storytelling tends to have two completely different effects on viewers. Some are left curious for any scrap of an answer, while others are turned off completely by the movie. 

The Turning also has heavily implied mentions of sexual assault and abuse, and inquiring audience should be aware before deciding on buying tickets. The scenes are not graphic enough to call on a higher rating and are subtle enough to get past a young eye. They are handled well by director Floria Sigismondi who tackles the subject with a female perspective. 

The Turning is a hit or miss with its audience because of all the different factors in the works, but it definitely leaves on with a lot to talk about.