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It really made me laugh, but for some moments I was tearing up because I could relate so much.

By the time the dramatic fireworks start popping off, each one feels earned.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

An old-fashioned movie made with new-fashioned finesse.

Overall, this movie was good but nothing special. We've seen the narrative a hundred times. Young woman enters strange premises, strange things happen, young woman heroically investigates everything culminating in action and the supernatural. Now let's take a look at the ending.Was I expecting something better? Sometimes yes. I already guessed Hudson would be the victim, but I was also hoping all this hoodoo/voodoo nonsense was something to mess with her head to distract her from some very practical sinister evil. Scratch that. Hoodoo is real.Given that this was so far a generic horror/suspense, I was expecting Hudson to emerge victorious. The real ending is a bit better. It was more realistic. A girl from the north snooping around against her better judgment to leave and jumping at every hint of hoodoo tid- bit as 'evidence' when she in fact does not know anything about it is probably going to fail miserably. Kudos to the film for that.But what about the revelation that the perpetrators were Justify and his wife all along? That adds an element of disturbing to this flick like nothing else. Essentially the bankers lynched their own children. Is that making a statement about how it was foolish of them to resort to violence when they didn't know what they were up against? If so, that's highly objectionable. And the viewer is left with the sudden revelation that Justify and his wife were evil all along. Why is there nothing else in the movie hinting toward this? What was the point of telling us the black servants were mistreated? Would they have spared the banker's children if they weren't? They don't seem to have any qualms left about hijacking innocent women. Voodoo aside, its hard to believe they are just evil to the point of being psychopaths in that they are completely disinterested in whether their victims deserve this kind of end.

It's not just the skeleton key that opens all the doors, it is also one soul, that is able to posses all other skeletons.The Skeleton Key created a twist, by throwing the viewer off with the obvious... And I feel, it was executed sublimely.Violet was the obvious culprit. Luke, you were very suspicious of, and once your suspicions are brought to light, you feel that perhaps, you have the film figured out, until...You find out why the mirrors aren't up. Until you find out Luke's role. Until you find out, why Ben needed to leave.I'm not a big Horror fan, but, this movie feels very original. The twists are - if you didn't see them coming, eyebrows raising. The ending is... Perhaps one of the best I've seen in the genre.ONLY with the most insanely "Justifiable" script, ONLY with that... This movie could have an awesome sequel.I started off with a 6/10, in the beginning while the mystery was being set up. It wasn't moving at a pace of my liking. However, when the story shift gears, so did my rating; from 6, to 7/10.There after, the twists and the ending... Pushed me to an 8/10.For this particular genre, I feel The Skeleton Key had some meat on it's bones. It's not necessarily scary, but, it is... Neat.

The insipid Kate Hudson (Goldie Hawn's daughter) stars in this half-baked slice of Southern Gothic as a nurse who winds up at a creepy and run-down old plantation to care for a seriously disabled man. Her job goes well at first, but she soon begins to ask questions about her controlling employer (the man's wife) as well as the secrets hidden in the locked attic.And so we have THE SKELETON KEY, which effectively manages some atmospheric moments but spoils them with barely-decent writing in which everything is forced to play out to its predictable climax. In that respect it's a little like WHAT LIES BENEATH, an equally play-it-safe thriller that seems to have been aimed at bored housewives more than anything else.The inclusion in the plot of themes of voodoo and immortality is interesting, but the execution is only so-so. It doesn't help that the cast is weak; Hudson is boring, Peter Sarsgaard is weak, and only Gena Rowlands seems to be channelling the Bette Davis spirit of old. John Hurt is the best actor here, but he's pretty much wasted in a role where he's given very little to do. THE SKELETON KEY deserves commendation for trying something different, but in the end there's not much here.

Here is One that is Not Let Down by its PG-13 Rating Because this is All Superstition and Such, All in the Mind of the Believer. It is a Swampy, Cajun Atmosphere of Dried Herbs and Bones with Rhythmic Chants and Rituals.Kate Hudson is Fine as a Hospice Worker that Overcompensates for Not Helping Her Father Cross to the Other Side and Enters a World Where Medicine is Replaced by Potions and Doctors are Replace by Ju Ju, or Hoodo to be More Precise.Peter Sarsgaard and Gena Rowlands Add a bit of Gravitas to what's Going On and You Have to Pay Attention to Know what that is. The Movie is Creepy Enough and Old Worldly and Other Worldly Enough to Keep You a bit Mesmerized.Overall, Worth a Watch for its Twist Ending, that You Might Not See Coming, and for a Low-Key Atmosphere that Never Goes Over the Top, Just Up to the Attic a Few Times. You Might Want to Sprinkle Some Brick Dust About Before Viewing.