Perhaps inspired by the sporadic resurgence of the traditional ghost story in recent years The Woman in Black combines classic horror hallmarks and motifs with modern horror techniques to good effect.

It also takes some cues from contemporary takes on the genre like Paranormal Activity and Insidious, which have helped to refresh the genre.

The Woman In Black is the fifth project from the revived Hammer stable, a studio synonymous with old-fashioned chills.

It winds up being a genuinely spine-tingling blend of timeless spookiness and modern day jolts, with a Japanese horror stamp on it – the influence of films like The Ring and The Grudge can clearly be seen.

The plot, based on Susan Hill’s 1983 Gothic novel, is set during Edwardian times and revolves around young lawyer and father Arthur Kipps (Daniel Radcliffe), whose wife passed away during childbirth.

When his work compels him to head to a remote town to look into the affairs of the recently deceased Alice Drablow, owner of the Eel Marsh estate, he finds the town and its townsfolk are concealing a devastating secret that he must unravel if he is to have any chance of saving his own son’s life…

Despite a hefty dose of cliché, a peppering of plot holes and the necessity for a substantial amount of suspension of disbelief at times, The Woman in Black deftly crafts real shivers and chills to keep you gripped from start to finish.

Implausibilities merely add to the fun of the ride as you find yourself becoming immersed in the startling events and tone of the story.

Supported by a quality cast that includes Roger Allam, Ciarán Hinds, Janet McTeer and Liz White, Daniel Radcliffe comes off OK, in spite of the fact that the jury is still out on the former Harry Potter star’s acting skills.

Here, his reserved, self-conscious, pared-down style works in his favour (to a degree), giving the impression of a blank canvas on to which we can transpose our own feelings and reactions as participants in the film’s events.

There’s also never any danger of overacting from Radcliffe, which can be fatal in a film that needs its audience to believe in what it sees and feel genuine fear. Underplayed is what works best.

Directed by James Watkins, the man behind distressingly brutal British horror Eden Lake, and with a screenplay created by Jane Goldman, there’s enough talent attached to The Woman in Black to know that you’re in for a well-made ghostly flick replete with some authentically scary moments.

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