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Lemora: A Child's Tale of the Supernatural

Lemora: A Child's Tale of the Supernatural

Horror · 1974

A notorious bank robber kills his wife and flees the police, only to be captured by a mysterious group of figures in an abandoned town. His beautiful daughter, Lila Lee, receives a letter stating that her father is near death and that he needs to see her. Sneaking away at night from her minister guardian, Lila embarks on a terrifying journey...

Movie details

Lemora: A Child's Tale of the Supernatural

“Run, little girl! Innocence is in peril tonight!”

1974 Horror 1h 25m

Critical arithmetic

One number, for now.

TMDB

6.1 / 10

Community rating

A notorious bank robber kills his wife and flees the police, only to be captured by a mysterious group of figures in an abandoned town. His beautiful daughter, Lila Lee, receives a letter stating that her father is near death and that he needs to see her. Sneaking away at night from her minister guardian, Lila embarks on a terrifying journey...

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Lemora: A Child's Tale of the Supernatural?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Lust for a Vampire

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The Kindred

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Names above the title

The people responsible.

Directed by

Richard Blackburn

Written by

Richard Blackburn · Robert Fern

L

Lesley Gilb Taplin

Lemora

Cheryl Smith

Cheryl Smith

Lila Lee

W

William Whitton

Alvin Lee

Hy Pyke

Hy Pyke

The Bus Driver

M

Maxine Ballantyne

The Old Woman

S

Steve Johnson

The Ticker Seller

P

Parker West

The Young Man

Court is in session

Put Lemora: A Child's Tale of the Supernatural on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Prestige Tourist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.