The wildly ambitious sophomore effort Bring Her Back gradually reveals itself to be a direct statement on the cheap exploitation of grief, channeling the existential nihilism of French New Extremity works like Martyrs to explore just how unhealthy it is to process death at such a surface level. That it’s also one of the most distressing, anxiety-inducing horror films of recent memory when taken at face value is just a bonus.
The script is lean enough that there really isn’t room for narrative flubs besides one breakdown that’s a bit too convenient. Hawkins lets herself get vulnerable, too, and the film never fakes a punch by pretending she’s anything more than a small, desperate and bedraggled woman with eyes that look like a bottomless well of need.
With an unhinged Sally Hawkins spearheading its mayhem, this sinister saga firmly establishes the filmmakers’ place near the head of the contemporary horror class.
Bring Her Back feels less like a movie than a finely tuned instrument of doom. In the devilish hands of Australian filmmaking brothers Danny and Michael Philippou, evil has been concentrated into an exceptionally and impressively nasty 104 minutes.
Ultimately, Bring Her Back is a film of contradictions: intimate and epic, bloody and cerebral, empathetic and terrifying. It’s the kind of horror that might take until long after the credits roll before its full impact lands.
Bring Her Back captures the darkness and fear of losing someone, all while making one of the year’s best horror films. It’s that mixture, like with Talk to Me, that makes Danny and Michael Philippou two of the most exciting filmmakers in the genre.