“I know you’re not real,” he grumbles to her as she mocks him while sitting on that fireplace mantle. Frankie keeps appearing to him even after he’s dug her up and dismembered her. Slowly and rather terrifyingly, sometimes in the form of grisly dream sequences.Īfter burying Frankie, Jack, understandably, is even less capable of keeping his mind on his work. The disappearance of her daughter brings that touch back. Frankie’s nameless mom, played by Poser, is a psychic who years ago lost her “touch,” and now works as more or less a con artist. The person he hits is Frankie (Zelda Adams), a feisty, zesty, wholly lovable teen whose eccentricities include a taste for the kind of music mostly heard on 78 RPM records, or emanating from vintage radios. And one night after a couple shots too many, driving home and swerving to avoid some deer on the snowy rural road (this movie’s sense of snow is almost as intense as that of Kubrick’s “ The Shining”), he looks away from the windshield for a second and boom, his life changes for ever and not for better. But he likes a drink as much as, if not more, than his work. John Adams plays Jack, a taciturn hirsute dude who’s renovating the house. “After You’re Gone” is the crackly song emanating from it.

The movie begins with evocative shots of an old, empty, decrepit house with a vintage radio sitting atop a fireplace mantle.

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