‘LITTLE STRANGER’

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Most haunted houses, at least in movies, share basic qualities: They are empty, dilapidated and the floorboards creak a little too much. At first glance, “The Little Stranger” seems to have been shaped by the same cookie cutter used by countless haunted-house films before it. But director Lenny Abrahamson is far more ambitious than that. His follow-up to 2015’s “Room” is a character-driven psychological thriller, one whose larger implications will trouble your mind, like a ghost.

We cross the threshold of the house in question, Hundreds Hall, with one Dr. Faraday (Domhnall Gleeson), a kindly country doctor. World War II has recently ended, and Faraday has returned to the village of his youth to take up private practice with a partner. His patient at the Hall — once resplendent, but now fallen into disrepair — is the lone maid (Liv Hill) for the lady of the house, Mrs. Ayres (Charlotte Rampling), who lives with her adult children Caroline (Ruth Wilson) and Roddy (Will Poulter), a badly wounded veteran. Faraday soon ingratiates himself with the family, treating Roddy’s wounds and developing a friendship with Caroline.

The house also has a mysterious quality, one that no one can quite articulate. Before long, everyone living there begins to worry they might be going mad.

Adapted from a 2009 novel by Sarah Waters, the screenplay by playwright Lucinda Coxon drips with quiet menace. Faraday, who narrates the film, returns again and again to a formative moment from his childhood: one in which the still-grand mansion — where his mother once worked as a maid — captured his imagination. On one level, class has informed his lifelong obsession with the house: the middle-class Faradays only knew such opulence as outsiders.

But Coxon and Abrahamson have added several layers of meaning.

Faraday’s relationship with the Ayreses complicates the drama. At the beginning of the story, he’s almost like a servant, obeying their every whim. But soon he has become so indispensable that Caroline and the others begin to think of him as family.

At the heart of “The Little Stranger” is its ghost story, of sorts, one whose horror sequences build toward a sense of cautious inevitability, with the methodical pace of a figure wandering a dimly lit hallway. These moments are more creepy than gory or intense, and what makes them effective is their ambiguity. There are always two explanations for what we have seen: one scientific (typically offered by Faraday) and another suggestive of something more supernatural.

Starring: Domhnall Gleeson, Liv Hill, Charlotte Rampling, Ruth Wilson and Will Poulter. (Contains some disturbing bloody images and sequences of terror.)

— Alan Zilberman, Special to The Washington Post