The Thing With Feathers Review: Benedict Cumberbatch Goes All-In For This Treatise On Grief [SUNDANCE 2025]

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In just as many ways there are to experience grief, there are equally numerous symbols used to represent it. For instance, in the movie “The Thing With Feathers,” which is adapted from Max Porter’s 2015 novel “Grief is the Thing With Feathers,” grief takes on the form of a large, talking crow that both torments and aids a grieving family following their wife and mother’s sudden demise. This metaphor resonates well with the grieving process, although it can occasionally become overly elaborate. Benedict Cumberbatch delivers an impressive performance in this film, while its distinctive visual style ensures it is a captivating drama that holds viewers’ attention—despite the fact that some might argue that its concept is more engaging than its actual execution.

In this movie, Benedict Cumberbatch portrays a character simply referred to as ‘Dad’. This role underscores the pivotal theme of fatherhood in the film. Following the unexpected demise of his seemingly healthy wife, he is no longer a husband and must focus all his energy on rearing their two young sons (Richard and Henry Boxall). A task that once felt natural with his wife by his side, now appears as an insurmountable challenge. He grapples with the overwhelming grief, feelings of incompetence compared to his wife’s household management skills, and guilt over his perceived failings as a parent. To complicate matters further, he encounters a large crow (voiced by David Thewlis), who seems eerily similar to the Shame Wizard from “Big Mouth”, whose purpose is to intensify Dad’s feelings of sorrow.

Grief as Giant Crow

In this portrayal, the experience of grief is poignantly authentic, mirroring its raw essence. Grief, much like Crow, appears unexpectedly, striking when Dad is at his most exposed and susceptible. In moments of solitude, or when he’s not burdened by the responsibilities of his sons, grief insidiously seeps in. At times, it can be harsh, echoing Dad’s deepest fears, but more often, it seems to offer some assistance, serving as a crucial aspect of the healing process. This is where the film distinguishes itself most significantly between grief and despair — portraying Crow as an unwelcome yet necessary presence, while depicting Despair, symbolized by the Demon, as a menacing darkness that threatens to disintegrate Dad from within, both literally and metaphorically.

In simpler terms, “The Thing With Feathers” has an impressive foundation of ideas, yet its execution occasionally falters. It attempts to combine horror and drama, which sometimes weakens the movie as a whole. The heartwarming scenes between the father and his sons (remarkably realistic child performances), draw us in, but sudden shifts into intense horror keep us at a distance, highlighting the director’s creative decisions. The Crow’s creature design is excellent, but the visual representation of grief can become overly repetitive.

While splitting the movie into four segments – Dad, Boys, Crow, and The Demon – provides a basic storyline structure, it might have been more impactful in building horror elements if these sections were more intertwined. This could create an increasing feeling of unease as the boys grapple with their father’s unexpected and unsettling behavior, or gradually introduce the Demon (symbolizing despair) throughout the film. As currently presented, the appearance of the Demon is the most terrifying moment in “The Thing With Feathers,” a chilling figure that deceives you, distorts reality, and erodes your defenses.

Thought-provoking in spite of its missteps

Despite its flaws, “The Thing With Feathers” is an intriguingly captivating movie that’s likely to linger in viewers’ minds even after they’ve completed watching it. The theme of grief might seem straightforward, but it’s subtly portrayed in a myriad of complex and thought-provoking ways, inviting deeper analysis. Moreover, with Benedict Cumberbatch delivering a powerful performance as the main character, this film is definitely worth watching.

Despite being greatly captivated by his acting, the movie contains several unanticipated elements scattered throughout. The Boxall brothers, portraying the two young sons, are intriguing to observe as they grapple with their own sorrow while keenly observing their father’s struggles. Additionally, the character design of Crow is striking, setting the visual tone for “The Thing With Feathers.” If it could just decide on a single genre and stick to it instead of attempting to blend multiple genres and finding a middle ground, it would be almost excellent.

At the 2025 Sundance Film Festival held on January 25th, “The Thing With Feathers” had its premiere. Currently, as I’m writing this, the film doesn’t have a distribution deal in place.

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2025-01-28 22:00