Underwhelming, Overlong Trauma-Horror They Live in the Grey Is for the Hallmark Crossover Crowd

Abel and Burlee Vang’s They Live in the Grey values ghost stories as metaphors for traumatic repression, like something you’d find on Lifetime but with ghouls. Narrative choices favor states of depression as guided by visiting apparitions, which slink into psychological unrest. It’s a more modern brand of horror that taps into the storytelling power of the genre as a conduit for emotional discovery rather than cheap jump-scare antics. That’s neither an outright warning nor commendation, more a way to massage proper expectations. Shudder’s loaded with scare-you-senseless selections like Satan’s Slaves, which They Live in the Grey can’t compete against. This one’s for the Hallmark crossover crowd.
Michelle Krusiec stars as Claire Yang, a child protective services employee who’s handed a new case with challenging conditions. Sophie (Madelyn Grace) says her scrapes and bruises are from reckless skateboarding, corroborating travel agent mother Audrey’s (Ellen Wroe) testimonials. Claire goes along with the reasoning but senses something else in Sophie’s house. A presence not of this world. It’s the same spiritual sensation she started experiencing after her son’s death and her husband Peter’s (Ken Kirby) walkout. Claire refuses to watch another family fall apart because of unexplainable entities—which might make this her final investigation if she’s not careful.
There are elements of They Live in the Grey much like Relic or Sator, that morph headspace prisons into nightmarish realms. The Vangs don’t construct their haunted house as another Halloween attraction; Claire’s interactions with nightly spirits are brought on by her “living in the grey.” Claire retreats from civilization after her child passes and watches everyone she cares about move onward. Her grief is a shadow cast by an infinite cloud that attracts screaming mothers, bald men who bleed from their mouths, and other lost souls stuck seething in the same wayward angst. The problem is, there’s far more to Claire’s journey during the film’s unfavorable two-plus hours.