The Autopsy of Jane Doe (2016) Review – A Chilling Masterclass in Medical Dread

We are almost halfway through our K-O-Ween 31 Days of Halloween feature. For day 14 we will be taking a look at André Øvredal’s first non-found footage horror movie The Autopsy of Jane Doe.

A disturbing horror Bottle Film

The Autopsy of Jane Doe follows father and son coroner duo Tommy (Brian Cox) and Austin (Emile Hirsch) The local sheriff brings in the body of an unidentified woman, a Jane Doe. It’s up to the pair to work late into the night to find her cause of death. Little do they realise that there is far more to this woman than initially meets the eye.

“Almost the entire movie takes place at the autopsy table. This is a proper bottle horror. It’s going to take a lot to break these two, but far less to crack the person watching.”

The Autopsy of Jane Doe sets out with one task in mind – to absolutely shred the nerves of the viewer. It’s not going to do it with jump scares and loud noises, it’s going to do it by making you feel incredibly uneasy as the walls close in on our two protagonists. It’s like a serious of horror set pieces that never scream or shout but draw ever closer whenever you turn away.

Almost the entire movie takes place at the autopsy table. A few scenes venture into other parts of the building but they are few and far between. This is a proper bottle horror. Both Austin and Tommy are experienced coroners and not intimidated by the environment that they are in and that, in a way, sets the tone. It’s going to take a lot to break these two but far less to crack the person watching. The horror is going to ramp up significantly the deeper they get into their investigation.

A strong psychological leaning as it plays with your mind

The first half The Autopsy of Jane Doe feels a lot like a psychological horror. The story is the most important thing and everything else takes a back seat. Scaring the viewer is secondary to creating a tense atmosphere and enveloping the person watching in the environment of the coroner’s building. It’s clear we are being set up to have our senses rattled but not for awhile. The further along the autopsy gets, the more bizarre the happenings. 

It starts normal at first; it’s just a medical procedural with little of note. All of a sudden, the lights flicker. It’s the first hint of many that something strange is afoot. The characters dig deeper (literally) and find mysterious suggestions that there is far more to this body than simply a tragic death. This was a homicide and someone didn’t want this corpse to be found. Each new cut releases further evil and every uncovered truth draws the pair closer to an inevitable encounter with something truly sinister.

“Each new cut releases further evil, and every uncovered truth draws the pair closer to an inevitable encounter with something truly sinister. It is an admirably effective horror setting.”

It’s fascinating stuff and the location only adds to the scares. This coroner’s building is maybe not as small as you think. Still, there’s only a single lift to reach the exit and, as the intensity mounts, escape seems impossible. It’s claustrophobic, atmospheric, and unbearably tense. It is apparent that André Øvredal wants the viewer to feel trapped along with Tommy and Austin themselves. It is an admirably effective horror scene setting.

Tons of Nudity and Body Horror

Naturally, there is an element of body horror, as one might expect when watching a movie about an autopsy. The autopsy is presented in graphic detail and the Jane Doe is actually played by a real person – Olwen Kelly. Expect full frontal female nudity for the entirety of the movie, some of which is graphic.

There is also graphic autopsy procedures such as cracking ribs and removing organs. If either of those things don’t appeal to you then you may want to give this a miss. The decision to use an actual person was, in my opinion, an inspired one. It lends the movie a feeling of authenticity rather than the hokeyness that would have come along with a prop.

For the majority of the movie we see Olwen Kelly lying on the slab. For actual autopsy shots, prosthetics are used so the actors can crack bones and cut ski. The prosthetics are, for the most part, pretty great. The body parts look very realistic and somebody obviously had a hell of a time in the foley studio.

“The prosthetics are, for the most part, pretty great. The body parts look very realistic and somebody obviously had a hell of a time in the foley studio.”

There are a couple of scenes that do look a little strange. These scenes are usually shot from further away, though. The close up shots are very effective body horror featuring the removal of damaged lungs, a scarred heart, and other vital organs. It is really well done and is sure to make a few of the more squeamish viewers feel a little nauseous.

Fantastic Acting and Excellent Cinematography

The Autopsy of Jane Doe features an experienced cast who do a fantastic job. Brian Cox and Emile Hirsch have a believable dynamic as father and son. They are both likeable and will make you laugh on a few occasions. You feel for them with what they have to go through and Emile Hirsch does a decent job of projecting emotion.

It would be impossible not to mention Olwen Kelly as the Jane Doe. Okay, she just lies on a table for the entire runtime. To do that, however, completely naked in a room full of production crew is a task in and of itself. It’s a brave performance. It is worth pointing out that I never noticed her breathing or twitching throughout. Apparently she was hired due to her ability to control her breathing and movement. This is a skill she developed through yoga and especially noteworthy.

Cinematography is great. There are some creative shots using mirrors and cracks in doors. Scenes are set up very well and you never once feel as though you are watching a small budget horror movie. The claustrophobic environment of the autopsy room is the perfect setting for the events that occur and the lighting and sound production only add to the scares.

Our Scoring Philosophy: A Fair Fight

Horror is a genre that thrives thanks to indie film makers and low budget creators. At Knockout Horror, we firmly believe that every movie that we review deserves a fair fight. That's why we grade on a curve. Our star ratings are all about context, judging a film on what it achieves with the resources it has.

A 4-star rating for a scrappy indie horror made for $10,000 is a testament to its ingenuity and raw power. A 4-star rating for a $100 million blockbuster means it delivered on its epic promises. We don't compare them side-by-side; we celebrate success in every weight class, from the back-alley brawler to the heavyweight champion. Please keep this in mind when considering star ratings.

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