‘Bring Her Back’ Is Repulsive, Not Revolutionary

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Danny and Michael Philippou’s “Bring Her Back” marks their first production since “Talk to Me” (2022), a fitting sequel that one can confidently create when left unaccompanied and carrying the positive sentiment from their initial film.

This film is exceptionally intense and brutal, an uncompromising horror production that leaves you with the feeling of being strongly drawn to it.

I’m not.

Billy Barratt and Sora Wong portray siblings Andy and Piper, who find themselves placed in foster care following the demise of their father. They’re relocated to a secluded house belonging to a warm, eccentric, and nurturing woman named Laura (Sally Hawkins).

Despite appearing exceptionally kind, it’s hinted multiple times that there’s a dark side to Laura which Andy and Piper don’t fully understand at first.

The tale bears strong resemblance to the modern retelling of Hansel and Gretel, despite its title possibly leading one to believe it’s a fantasy or fable like those written by Hans Christian Anderson (such as Oz Perkins’ 2020 film “Gretel and Hansel”). However, this narrative deviates from such genre expectations.

The opening scene is a blurry, eerie video clip from a vintage cassette tape, which seems almost pleasant compared to the haunting videos like “The Ring.

In the end, the sensational aspects of the storyline overshadowed the human element. Initially, I considered abandoning it, but Hawkins’ exceptional acting kept me engaged. Regrettably, towards the finale, it succumbed to common horror movie tropes.

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I think Laura’s behavior suggests she’s struggling terribly with her daughter’s death and the absence of her world without her. It seems she can’t move on, leading me to believe she’s acting monstrously. Conversely, the idea of supernatural events is tough to accept, let alone understand, as the blurry video evidence we have is the only argument given for one disturbing event after another.

What level of intensity or brutality should we expect from this film? To begin with, it touches upon topics such as mutilation, cannibalism, and child abuse. While many horror movies are violent, this one seems to push the boundaries, eliciting reactions that felt distant and, in my opinion, a desperate attempt to grab attention.

You might want to watch this because of Hawkins’ exceptional performance, which includes depths and original elements that aren’t always explicitly mentioned in the script.

The filmmaking is impressively done, notably in its cinematography and audio work. Even though it’s skillfully produced, I don’t think I’d ever rewatch it and have no one in mind whom I’d suggest it to.

If a movie often portrays instances of child abuse, it should have a compelling justification for tackling such a distressing subject matter. This film doesn’t shy away from showing harsh realities, and the depiction of children suffering is only one aspect of the many appalling events presented in it.

The underlying theme is how loneliness impacts us profoundly. I understand that perspective, but the classic film “Psycho” (1960), often regarded as one of the best movies depicting isolation and mounting insanity, didn’t have to go to such extreme lengths to provoke viewers, not even Alfred Hitchcock himself drew such boundaries.

Enthusiasts of intense, boundary-breaking horror might find excitement in A24’s decision to screen something as grisly in mainstream cinemas. It’s likely that film connoisseurs are aware that there are superior films addressing similar themes without relying on shocking visuals and disturbing content for audience impact.

Fun Fact: “Talk to Me” grossed an impressive $91 million worldwide in 2022. Its production cost, on the other hand, was estimated to be around $4.5 million.

If you’re looking for chilling horror films that push boundaries, I recommend “See the Sea” (1997), a French horror movie directed by Francois Ozon, and “The Eyes of My Mother” (2016) by Nicolas Pesce. The first one is approximately 50 minutes long, while the second film, shot in black and white, runs for about 77 minutes.

The swift pace at which those runs demonstrate just how much can be achieved when every second counts. Both movies left a profound impact on me, and they rank as some of the most intense, skillfully crafted horror films I’ve ever encountered.

With a fellow genre enthusiast, I watched “Bring Her Back.” She’s as passionate about these films as I am, but when the movie ended, she noticed I was unsettled and down. She questioned if I enjoyed the film, to which she commented thoughtfully: “When I think of a Horror Movie, this is exactly the kind of film and experience that comes to mind.

This observation is valid, and fans of the genre might find delight in how deeply the directors immerse themselves in the grime for this particular release.

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As a movie enthusiast, I’ve always found that the visually gruesome elements in films by directors like David Cronenberg or Takashi Miike serve a purpose – they vividly portray the ideas, themes, and dark potential within their characters. Unfortunately, the script for “Bring Her Back” seems to lack depth and originality, making it hard to reconcile such repugnant imagery with its otherwise routine narrative.

The Philippuo siblings demonstrate skill and ambition as filmmakers, and I eagerly anticipate their next production to lean more towards the harmonious blend of somber tones and witty humor akin to “Talk to Me,” rather than venturing beyond the boundaries set by “Bring Her Back” and potentially causing viewers to feel queasy.

If A24 had been slightly more strategic in their marketing for this film, they might have included “Vomit Bags” alongside every ticket sale, labeling it as “Bring Her Back”. However, I’m not suggesting you avoid this movie entirely; instead, consider this a heads-up.

If you found “Final Destination: Bloodlines” too tame for your taste in horror movies, here’s one that will certainly pack a punch and leave you feeling quite uneasy.

One and a Half Stars

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2025-05-28 17:03