One would have to go as far back as 1987, and the release of John Schlesinger's "The Believer's" for such an adult take on the mysticism of voodoo culture. "London Voodoo" isn't as assured as that underrated little shocker, but it is a successful thriller on many levels. Much better than its direct-to-video fate would lead one to believe.

Stressed out analyst Lincoln (Doug Cockle) relocates to London where a new high profile job promises more money and ample time to spend with his family. His wife Sarah (Sara Stewart) is left to supervise the final renovations of their new apartment and their infant daughter. At Lincoln's insistence a nanny is hired to help Sarah (always a bad idea in traditional yuppie thrillers). Young Brit Kelly (Vonda Barnes) proves charming enough; allowing Sarah some free time to poke around the basement. When she unearths a grave with the bodies of a mummified couple amidst a collection of voodoo idols, things quickly go awry. It seems the dead duo were a couple of voodoo royals who, naturally, aren't satisfied with death. The spirit of the mummified priestess soon finds a new home in the curvaceous body of Sarah. The stay-at-home mom begins to worry about memory lapses while the pert nanny begins making eyes at dad. If only the couple had called the authorities when the bodies were originally found! If only they had listened to the local voodoo priest who had warned them very clearly, very early on about the possession! But such things rarely happen in thrillers, even the more competent ones. Once Sarah is fully taken over by the angry spirit, it isn't long before she sets her sights on Lincoln as a vessel for her dead counterpart (the other mummy/priest in the basement). At its core, "London Voodoo" is about the deterioration of a relationship: the busy husband with no time for his family and the resentful wife who is seemingly "possessed" by anger and frustration. This narrative thread is the films most powerful asset and gives "Voodoo" a dramatic resonance rarely found in contemporary thrillers. It does, however, lack a certain urgency throughout much of the running time. Characters are warned far in advance about the impending doom; their avoidance of the obvious makes for some tedious exposition. The last half hour does contain some solid set pieces and provides a modicum of suspense, but the end result is rather half-hearted.

"London Voodoo" is a stylish, methodically paced thriller with some strong performances and a solid (if sometimes silly) script. In many ways it feels like a superior British television drama with its strong ensemble, slow build and attention to local detail. This is writer/director Robert Pratten's first feature and it exhibits great promise for future endeavors. His strength lies in the strong character work, both in dialogue and performance. Much of the plot contrivances are made palatable by the grounded characters who (both on page and onscreen) act and react within (fictional) reason. Wife doesn't want to alert the authorities about those creepy dead bodies because... she's bored! Husband doesn't press the issue because... he feels guilty! The actors here are strong, especially Cockle as the ambitious, distracted husband. Watching his detached, all-business personae slowly erode along with his family is great fun to watch. Stewart as the long-suffering wife isn't quite as comfortable with the material, but makes an effective protagonist. If her transformation into the priestess/warrior had been as assured as her early scenes, the climax might have had more punch. Barnes is refreshing in her clichéd role of the sexpot nanny. She manages to pull off a character both naive and calculating; a combination difficult for any actor. One of the more fascinating aspects of "Voodoo" is the wonderful supporting cast, most of whom are involved in the local voodoo sect. Michael Nyqvist, Trisha Mortimer and Sven-Bertil Taube each carry a wonderful, regal authority about them. Their few scenes really ignite the proceedings and make one long for a movie simply about their underground world.

The technical aspects of "Voodoo" are all top-notch including the fluid cinematography by Patrick Jackson. He manages to create quite a bit of suspense with a keen juxtaposition of close-up, seemingly random imagery with staid compositions of the actors. The music by Steven Severin of Siouxsie and the Banshees is a suitably odd mix of styles; part moody contemporary, part jungle rhythm. It's a perfect match for Jackson's visuals and worthy of a soundtrack release.

This DVD release by Heretic Films is truly special edition material. The widescreen presentation of the film is pristine and the Dolby sound is clear and vibrant. The special features include a short, but interesting, video diary with the director - who also contributes an engaging film length commentary. Several deleted scenes are included as well (most were rightly cut) along with the trailer. Ultimately it's a great package for a superior (though flawed) thriller; one that is definitely worth a rental.