Blumhouse Productions has become synonymous with low-budget, high-concept horror. For every Get Out, there's a Fantasy Island. And unfortunately, The Woman in the Yard (2025) leans closer to the latter—a moody, slow-paced psychological thriller that promises layered trauma but delivers lukewarm execution. Despite a haunting performance from lead actress Danai Gurira, the film falters under the weight of its ambitions.
The Setup: A Mystery with No Urgency
Set in suburban New Jersey, the story follows Ruth, a recently paroled woman who moves into a halfway house only to be confronted by eerie visions of a silent woman standing in the backyard every night. At first, the woman seems like a hallucination born from Ruth's guilt and PTSD. But as strange phenomena escalate—flickering lights, phone static, and whispered voices—it becomes clear something (or someone) is haunting her.
“The woman never knocks. She never leaves. She just waits.”
Sounds promising, right? But from there, The Woman in the Yard sinks into repetition and long stretches of atmospheric filler. The tension simmers—but rarely boils.
Performance: Danai Gurira Carries the Film
Danai Gurira delivers a deeply felt performance that deserves a better script. Her Ruth is stoic yet expressive, carrying years of pain in her posture and gaze. She brings a rawness to scenes that would otherwise fall flat.
[Performance Highlights]
Silent Breakfast Scene: Ruth sits across from the ghostly woman, unblinking, as eggs burn in the pan behind her.
The Bathtub Breakdown: A five-minute monologue delivered entirely to her own reflection.
In Color: The film’s washed-out grays and browns emphasize Ruth’s emotional numbness. However, when the “yard woman” appears, the scene is splashed with harsh blue light—a jarring, but intentional tonal shift.
The Pacing Problem
At just under 90 minutes, the movie feels twice as long. Long tracking shots and repetitive dream sequences stretch the runtime without adding depth. It’s not atmospheric—it’s sluggish.
“It’s like someone tried to remake The Babadook but forgot the part where things happen.”
— Letterboxd user review
Themes: Trauma, Justice, and Stagnation
The film attempts to tackle:
Post-incarceration trauma
The erasure of Black women in the justice system
Generational guilt
But these themes are touched on superficially. We’re told Ruth carries trauma, but we’re rarely shown it in a way that resonates.
Plot Twist: Underwhelming
The final act reveals that the woman in the yard is a manifestation of Ruth’s former cellmate, who died under suspicious circumstances in prison. The twist tries to tie together themes of guilt, systemic neglect, and internalized grief—but it arrives too late and lands too softly.
“You’re not haunted, Ruth. You’re just still here.”
— Warden’s ghost, final scene
Instead of a chilling resolution, we get a shrug of an ending: Ruth sits silently in the yard as police lights flash in the distance—ambiguous, unresolved, and unearned.
Direction & Cinematography
Director Jaime Gonzales shows promise with visual restraint, but the film lacks a coherent aesthetic identity. It borrows heavily from better films (Saint Maud, The Night House) without carving its own path.
The score by Colin Stetson is effective in moments—particularly with low, throbbing cello bursts—but is overused, often replacing tension with noise.
Should You Watch It?
✅ Yes, if:
You’re a Danai Gurira fan.
You enjoy slow-burn character studies.
You’re a Blumhouse completist.
⛔ No, if:
You want scares, stakes, or surprises.
You expect narrative momentum.
You’re tired of trauma-as-ghost metaphor.
Final Verdict
The Woman in the Yard had the potential to be an intimate, unsettling exploration of grief and guilt—but it plays it too safe. With a script that meanders and a mystery that fizzles, this is one Blumhouse offering that belongs in the “forgettable” column.
Danai Gurira elevates every frame she’s in, but even she can’t save a story stuck in neutral.
★½ (1.5 out of 5)
Streaming Now:
Peacock & Amazon Prime Video
