A brother and sister uncover a terrifying ritual at the secluded home of their new foster mother.
Chuck says:
The Philippou Brothers’ “Bring Her Back” is likely to be a divisive film, primarily because it’s so well-made. Like their impressive 2022 debut “Talk to Me,” it pulls no punches where its violent content is concerned, yet what makes it resonate is its emotional pull. A bracing examination of grief, “Back” takes the theme of W.W. Jacobs’ “The Monkey’s Paw” and Stephen King’s “Pet Sematary” and pushes it to its breaking point, the directors daring the viewer to stick it out until its heart-breaking climax. Not for the casual viewer, this is for horror film aficionados, and even they will likely be watching most of it through their fingers.
Shocking examples of death abound, the first being that of stepsiblings Andy (Billy Barratt) and Piper’s (Sora Wong) father. The image of him bloodied and dead in the shower sears itself into the children’s brains, and ours as well, as this event resonates throughout the film. Only 17, Andy is unable to take custody of his blind stepsister, though he intends on applying to do so once he’s of age. In the meantime, they’re put into foster care, taken in by Laura (Sally Hawkins). The former social worker is a bit eccentric, overbearing in her enthusiasm towards Piper. It’s obvious from the start that she’s tolerating Andy just to have the girl near her and when he finds out her recently deceased daughter Cathy (Mischa Heywood) was also blind, her behavior begins to make sense.
Yet, the presence of another child Laura’s given shelter to proves unsettling. Oliver (Jonah Wren Phillips) has obviously suffered a great trauma. His head is clean-shaven, he doesn’t speak and is prone to violent outbursts. There’s something terribly wrong with this child, yet Andy can’t put his finger on just what ails him.
Slowly, a more dubious side to Laura is revealed. She manipulates Andy into trusting her, only to use the secrets he shares against him. She also goes out of her way to set up situations in which the young man seems irresponsible, and it becomes obvious she’s trying to scuttle his chances of getting custody of Piper. Laura pouring over a grainy VHS tape that contains a ritual of some sort only adds to the mystery surrounding her actions.
While there are a couple jump scares along the way, this is a slow-burn horror film, one that slowly reveals its intent, becoming more and more disturbing as it unfolds. It’s also a movie that lends itself to multiple viewings, as seemingly innocuous acts you’re likely to overlook, reveal themselves as significant clues as to what’s afoot.
Death is the trigger for both Andy and Laura, the behavior of each irrevocably altered by it. The passing of the former’s father awakens long-repressed anger and fear in the young man, his relationship with the deceased parent not what Piper thought it was. As for Laura, the death of her daughter has sent her into a tailspin, her reasoning taking a backseat to her desperation. Resurrecting Cathy is her only concern, and she uses it to justify actions she never would have considered taking before.
The entire cast is very good, yet Hawkins is the standout. Playing against our expectations, the actress’ performance is unlike anything she’s previously done. She walks a fine line throughout, making sure Laura never comes off as totally unsympathetic. While her actions are self-serving and her behavior obsessive, Hawkins never lets us forget the grief the character is carrying, garnering our empathy throughout despite Laura’s heinous acts.
As the horror unfolds and Laura’s intent becomes plain, all the children are put in peril, and disturbing, violent acts unfold. While the Philippous are intent on pushing us to the edge, their purpose is sound. Horror films are meant to disturb, to get under our skin, to force us to consider that which is off limits. The Philippous succeed in doing just that, so much so some viewers are likely to have an adverse reaction to the film.
That being the case, one shouldn’t mislabel a movie that’s disturbing as “bad.” To be sure, “Back” is unpleasant, a film you admire and endure more than enjoy. Yet, the proof that it’s expertly made is in the viewer’s reaction. Had it been a slipshod production riddled with amateurish performances it would be dismissed out of hand. That it elicits such a visceral response attest to its power and the filmmakers’ skill.
Putting us in Laura’s shoes, “Back” asks the viewer what they would do in the face of the most unspeakable of tragedies. That we don’t discount her efforts out of hand, speaks to the potential monster that lurks in us all.
3 1/2 Stars
