Writer-director Natasha Kermani delves into the dark depths of gothic horror with “The Dreadful”, a slow-burning semi-supernatural chiller covered in medieval blood and grime. The story is set in the 15th century as a battle for control of the English throne rages during the Wars of the Roses. It’s a fittingly grim setting for Kermani to play in. But she struggles to sustain any momentum in this surprisingly dull gothic folktale.

“The Dreadful” is loosely based on the 1964 Japanese drama “Onibaba”. Sophie Turner gets the lead role playing Anne, a young wife living with her creepy and conniving mother-in-law, Morwin (Marcia Gay Harden) while her husband Seamus is away at war. The two live in poverty outside of a small village where they grow what food they can from the rugged terrain. Filmed in the damp, foggy, and overcast Cornwall, the locations deftly capture the desired atmosphere and isolation.

Anne and Morwin’s relationship is nearly as harsh as the conditions they live in. Morwin is possessive and manipulative, while Anne does what is expected from her mainly out of respect for her husband. But there’s an even more unsettling side to Morwin that sees her resorting to savage violence in the name of survival while forcing Anne to serve as her reluctant accomplice. It adds a wild twist to the story and one of its few real surprises.

A new strain is put on their relationship after Anne’s childhood friend Jago (Kit Harington) arrives home from the war with news that Seamus has died in battle. A few wobbly flashbacks to their younger days reveal that Jago has always had the hots for Anne. As time goes by he eventually shares his feelings with her. But this doesn’t sit well with Morwin who has no desire to let Anne leave her side. Oh, and then there’s the mysterious armored knight on a white stallion who pops up in the distance before eerily vanishing into the mist.

While the movie does its title justice by conveying a steady sense of dread, neither the slow-developing character drama or the dark mystery pays off in the way they need to. Turner’s carefully measured restraint plays well with Harden’s descent into madness, yet both work well above the material they’re given. Meanwhile Harington blends into the background without leaving much of an impression at all.

“The Dreadful” toys with some interesting ideas but it doesn’t do a lot with them. The sluggish pacing combined with an overall lack of scares leaves most of its potential untapped. And it certainly doesn’t come close to the chilling heights of Kaneto Shindō’s classic. In fairness, this isn’t intended to be a by-the-numbers remake. But it struggles to stand even on its own, which leaves “The Dreadful” feeling like a missed opportunity.