Dir: James Ashcroft
Cast: Geoffrey Rush, John Lithgow, George Henare
Geoffrey Rush’s retired judge becomes the latest victim of John Lithgow’s unhinged care home bully in this claustrophobic and upsetting New Zealand psychological chiller
While they have proven to be of convenience at times, particularly during the dark days of the covid-19 lockdown, popular streaming services such as Netflix and Disney+ continue to trap a large number of potential cinemagoers at home, and while it is seen as a “convenience”, the resulting lack of support towards local cinema chains is slowly seeing one of the most popular entertainment industries slowly fade away from existence. Even I am guilty of benefitting from the household convenience streaming platforms offer, but I make sure I get to my local cinema to see as many new releases as I can to support them, as nothing can beat a true cinematic experience.
I think bigger streaming platforms, Netflix in particular, have grown beyond their initial ethos of bringing movies and television shows to the masses in their very own home. Nowadays Netflix have become guilty of producing their own huge blockbusters, without ever intending to release them in cinemas. Instead of focusing on customer convenience, they have now become a competitive distributor with multiple original movies releasing every year, often including major awards players.
There are smaller streaming platforms to Netflix however, who distribute more independent features as a means to get them more publicity. One of my personal favourites, and have been for a number of years is Shudder. Since its launch in 2015, Shudder has primarily focused 0n streaming and distributing films from the horror genre, including sleeper hits from 2024 “Late Night with the Devil” and “In a Violent Nature”. Unlike with most Netflix productions, Shudder often campaign some of their more prestige, or bigger budgeted projects through limited theatrical release, allowing audiences to have that cinematic experience. Their latest cinema-to-streaming release, “The Rule of Jenny Pen”, boasts two of the biggest names to appear in a Shudder original production to date, acclaimed veteran actors Geoffrey Rush and John Lithgow.
The curiously named “The Rule of Jenny Pen” is a theatrical adaptation of New Zealand author Owen Marshall‘s short story of the same name, and follows elderly judge, Stefan Mortensen (Geoffrey Rush), as he is admitted to a care home having suffered a stroke in court. Believing his symptoms following the stroke, which have left him partially immobile, to be short term, and that he will soon be free to return home, the deluded Stefan quickly distances himself from his fellow residents. Following a traumatic incident resulting in the death of a fellow resident, Stefan slowly realises that his condition will only worsen, potentially condemning him to spending his remaining days within the confines of the care home.
Whilst sharing a room with former rugby player Tony Garfield (George Henare), Stefan is subjected to elder-on-elder abuse from another resident, care home bully Dave Crealy (John Lithgow). Dave carries a therapy puppet at all times, called Jenny Pen, which he uses to fuel his bullying antics, forcing the less abled residents to grovel to it – hence the movie’s title. Stefan’s complaints regarding Dave’s behaviour are swiftly dismissed by the staff due to his deteriorating mental capabilities, and with most of his fellow residents paralyzed, physically and emotionally, as a result of Dave’s bullying, it is up to Stefan to stop the care home bully’s antics for good.
While it may not lend itself to the gore and scares one would associate with a Shudder original release, “The Rule of Jenny Pen” finds its own unique way of getting under the viewers skin. One of the biggest fears we will all have to face one day, is that of old age. As we enjoy our youth whilst we have it, the thought of spending every waking minute in care in our latter years is always a cause for concern, and this has seen younger generations become more health focused to ensure this does not happen. As much as we try to avoid it, it will catch most of us up eventually, and the eerie and claustrophobic setting of this deeply traumatic psychological chiller only serves to unsettle us even more.
Whilst most horror films tend to focus on younger victims, with the terror coming from seeing those still with plenty of life ahead of them not having that opportunity to reach their golden years. So it is an interest change of pace to see what haunts those at the other end of the age demographic – the fear of being forgotten. I am sure I speak on behalf on many readers by suggesting that you would never ideally wish to find yourself living in isolation, feeling abandoned by your loved ones. Several of the minor supporting characters in “The Rule of Jenny Pen” remain blissfully ignorant to the fact that their friends and family that they are longing to see, will not be turning up any time soon, leaving them completely powerless to the dominant, and monstrous, evil that is John Lithgow’s Dave Crealy. Despite being in his latter years himself, Dave is clearly aware that he is one of the most mobile residents of the ghostly New Zealand care home, and knowing all to well that the skeleton staff of low-paid, care workers aren’t willing to over exert themselves in their profession, he is quick to take advantage of others, purely for his own twisted amusement.
There has been numerous stories over the years worldwide regarding mistreatment of the elderly in care homes, which clearly inspired Marshall when writing his short story. While there is some truth in this, I would like to take the time to acknowledge the almost thankless job care workers undertake on a day to day basis, with very little pay and even less recognition. So while I am happy to accept that this dark and twisted re-imagining of Ron Howard‘s 1985 sci-fi fantasy “Cocoon”, to be nothing more than raising awareness of the few examples of elder abuse in care homes, I still wish to shout out those wo work tirelessly to look after those of a much older generation.
While small in scale with its single care home setting, Shudder’s latest release may have produced one of its most iconic good versus evil narratives in its ten year history. It may not be as outlandish or violent as some of their other works, but “The Rule of Jenny Pen” does a great job of setting up a truly heinous villain in Dave Crealy, it almost had me question Lithgow’s casting as Albus Dumbledore in the upcoming “Harry Potter” television series I hated him so much. He proves to be a constant foil to Rush’s retired Judge, who despite possessing superior intellect, does not have the physicality or respect from those around him to make it count. The most devastating performance though is not by either of the two stars, instead it is by George Henare as retired All Black Tony. Having been crippled by fear as a result of Dave’s abuse, Tony refuses to aid Stefan in his attempts at exposing the bully’s actions fearing that his family will see him as a lesser man, having allowed himself to be picked on for so long. Having played for one of the most intimidating rugby teams on the planet in his heyday, Tony wishes for his family to remember him as the Haka performing, sporting legend he once was, not a weak, and grovelling victim of elder abuse.
Verdict:
For all its strengths, this refreshingly restrained release from Shudder does drag at times, and the final act constituting of cliched revenge plot against Dave does undo some of the enraging set up that comes before it. Thanks to three equally impressive, but distinctly personal central performances, “The Rule of Jenny Pen” serves as yet another unnerving reminder that we all fear death, not necessarily at the hands of a serial killer or otherworldly entity, but of time itself.
The Rule of Jenny Pen is now available to stream on Shudder
Dan Loves Film 
Leave a comment