Journalist John Klein (Richard Gere) is still mourning his wife’s death when, en route to reporting a news story, he inexplicably arrives in Point Pleasant, West Virginia. There he is confronted by a local man (Will Patton) who believes he has been there twice before, and begins to investigate sightings of a mysterious paranormal creature alongside town sheriff Connie Mills (Laura Linney).

It is only the absence of FBI agents Mulder and Scully that stops The Mothman Prophecies from effectively resembling a feature-length episode of The X Files. It shares the series’ night scenes and moody atmosphere, its scenes of paranormal activity, and its creepy supernatural narratives. The film’s released came remarkably close to The X Files‘ end on television after nine seasons. If released a few years earlier it might have had a better chance of sharing the cultural zeitgeist.

Thankfully for the film, The X Files never did produce an episode about the so-called “Mothman”. It allegedly haunted the real-life Point Pleasant for about a year between 1966 and 1967, and was written about in a 1975 book by John Keel. That book, which came under some criticism for its accuracy, forms the basis of Richard Hatem’s screenplay. Mark Pellington directs, as a follow-up to his excellent 1999 thriller Arlington Rd.

The alleged real-life links are, as is always the case, best ignored. The bottom line is that The Mothman Prophecies is a stylish and effective supernatural thriller boosted by smart, effective performances and an excellent soundtrack by musical duo tomandandy.

The film features a particularly strong leading turn by Richard Gere. He begins the film is a very typical mode: charming, but a little arrogant and over-confident. The film takes time to build John’s relationship with his wife Mary (Debra Messing, thankfully not starring in a sitcom for once). When she is diagnosed with cancer after an eerie supernatural episode it throws John into a spiral of grief, and Gere does a superb job of playing out that trauma. A critical moment later in the film, of John fearfully anticipating a telephone call, is very possibly the best scene Gere has ever played.

It is always great to see Laura Linney, one of America’s best living actors, as a no-nonsense, very matter-of-fact town sheriff. It seems an odd role for her, and a lot more grounded than her usual characters, and she plays it incredibly well. The Mothman Prophecies builds on the chemistry Linney and Gere build in 1996’s Primal Fear, and in this case smartly puts their characters on a more even and equal level. It pays enormous creative dividends. It is also worth checking the film out for strong performances by Will Patton and Alan Bates.

If viewed for its plot, The Mothman Prophecies will likely disappoint. It is a masterful evocation, however, of mood. Mark Pellington is a gifted hand at building sense of menace, confusion, and particularly rising dread. The atmosphere is superb. Its elaborate finale is excellently staged and developed. Audiences at the time rather slept on this film, and it deserved a little more attention and a stronger appreciation.