FIlmed partway through Cast Away (allowing Tom Hanks to lose weight for the role) director Robert Zemeckis teamed up with Michelle Pfeiffer and Harrison Ford to deliver a creepy ghost story.

Technically excellent, and practically Hitchcockian in its execution and style, What Lies Beneath is something to watch featuring solid performances by Pfeiffer and Ford, and supporting turns by the likes of Joe Morton, James Remar, Wendy Crewson and Miranda Otto.

Despite everything it has working for it, the advertising for the film, everything from the posters to the trailers spoiled the mystery of what was going on, so the viewer is left waiting for the characters to catch up with what they already know.

At a lakeside home in Vermont, the Spencers are dealing with empty nest syndrome, and while Norman (Ford) has his research at the local university to keep him going, Claire (Pfeiffer) leads a quieter life, having given up her music for family life.

But she may not be alone in the house. And I’m not talking about their dog, Cooper.

Claire is hearing voices, catching glimpses of someone – some thing? – and strange things are happening with pictures around the house, as well as the gorgeous tub in the bathroom.

Is she losing her mind? Is it connected to the strange neighbor, Warren Feur (Remar) across the way. And speaking of Feur, where’s his wife? Or is it something closer to home?

Much like Hitchcock, Zemeckis uses a blonde protagonist, and there are nice little nods, particularly Rear Window. Zemeckis creates some masterful shots and camera moves, which make it impossible to look away from the frame. Even when you know what it coming.

Everything about the film should work, and while Ford and Pfeiffer share above the title billing, this is very much Pfeiffer’s film. Unfortunately, because of the way it was marketed, there are no real surprises to it.

Alan Silvestri delivers a suitable score to emphasize the scares, and creep factor, and as I said, the technical achievements of the film are really something.

But much like when I saw it in thee theatre (and I hadn’t seen it since) I just wasn’t wowed by it, because once again, I knew what was happening from the off, and it spoils it a bit. But, on the other hand, watching the masterful work of Zemeckis’ camera setups, the way he makes use of his effects – stunning.

I just wanted something that hadn’t been spoiled by its marketing. I’m okay with the twists and turns, but like I said, everyone knew they were coming.

I really do think directors should have a hand in the marketing of their films.