From the opening moments in The Innocents, director Eskil Vogt implements a haunting, unsettling style that sticks with you long after the credits roll. Vogt has a knack for developing an eerie setting; every scene is packed with unexplainable nerves and dread. The Innocents is not for everyone, as it is extremely disturbing in parts. Furthermore, the film's main cast is dominated by unassuming children that have a lot going on. These children play out a primal tale of good versus evil, utilizing their supernatural connections and telekinetic power. Vogt's second feature is challenging, terrifying, and engaging. The film isn't perfect though. Its slow-moving nature may put some off, and its overlying story may be too hard to watch. However, those who can endure the tension may find that The Innocents will stay with them for a long time. When Ida's (Rakel Lenora Fløttum) family moves into a new high rise, they spend the summer holiday getting acclimated to their new surroundings. Anna (Alva Brynsmo Ramstad), Ida's sister, was diagnosed with Autism at a young age and needs help exploring the neighborhood. Eventually, the sisters make a couple of friends, Ben (Sam Ashraf) and Aisha (Mina Yasmin Bremseth Asheim). The foursome quickly learn that they have a supernatural connection - they can hear each other through their thoughts and even manipulate objects through telekinesis. Eventually, some of Ben's inner demons bubble up to the surface, and the children must learn to harness their power before things get out of hand. At first glance, The Innocents may feel like an "X-Men junior," where kids discover, develop, and harness their powers. Vogt quickly steers this film in a different direction, focusing more on what unchecked power can do to completely innocent individuals. The Innocents will make viewers feel true hatred for some of the vile acts committed on screen. Amid all this hate, there is also a layer of hope and togetherness that is communicated through Vogt's subtleness. The performances in The Innocents are exactly what they need to be. The terror is enhanced through the camera, score, and long-drawn-out scenes of impending doom. Vogt has this fluid way of hinting what is about to happen, making one dread it for a few seconds, and then actually showing it. The film is full of these mini loops, culminating in a very stressful 117 minutes. The story does seem bloated for artistic effect, which can make some scenes drag, especially when the overarching plot is simple in premise. Moviegoers should not expect a light-hearted horror experience here. Vogt has made sure of that. The Innocents has the power to move, startle, and rattle audiences. There are no jump scares, no loud noises, and no cheap thrills; there is only a psychological unsettling that may take some time to lose its effect.