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    Movie Review

    Disturbing new horror film Bring Her Back will shock fans of the genre

    Alex Bentley
    May 30, 2025 | 4:00 pm
    Sally Hawkins and Sora Wong in Bring Her Back

    Sally Hawkins and Sora Wong in Bring Her Back.

    Photo courtesy of A24

    While there have been plenty of great horror movies that have come out of the United States, there are also many examples of other countries delivering films that put American ones to shame. Whether it’s the freedom of working outside the U.S. studio system, different sensibilities, or something else, international horror movies often hit way harder than domestic ones.

    The latest example is the Australian film Bring Her Back, directed by Danny and Michael Philippou, the same filmmakers behind the 2023 sensation Talk to Me. The fantastically unnerving story centers on Andy (Billy Barratt) and his sister, Piper (Sora Wong), who’s legally blind. The two are put into foster care after the death of their father, finding a home with Laura (Sally Hawkins), a former social worker. Laura is enthusiastic about having Piper, who reminds her of her blind daughter who passed away, but Andy feels a coolness toward him right away.

    Also living with Laura is Oliver (Jonah Wren Phillips), whom Laura says has been mute since her daughter’s death. But Oliver’s actions are much weirder than him not being able to talk, and Laura alternates between being dismissive of him and overly attentive. Things start to go off the rails when Andy witnesses a horrific event, and he and Piper - along with the audience - are unprepared for how awful things will get.

    The film, written by Danny Philippou and Bill Hinzman, ranks extremely high on the list of most disturbing films you’re likely to see. It’s not just the blood and gore that can be found in many other horror movies; it’s the manner in which the carnage comes about that may haunt the dreams of viewers. The things that the filmmakers choose to show are so shocking that it’s fair to wonder what kind of a mind comes up with such atrocities.

    But the Philippous have more on their mind than trying to traumatize viewers visually. It’s a movie about grief and a broken foster care system mixed with a tinge of the supernatural. While it’s not entirely clear what’s going on with Laura and Oliver, it involves something spooky that has affected both of them in inexplicable ways. The film combines the horrors of real life and the incomprehensible for a highly effective story.

    The film also veers far away from your typical horror film arc. While Laura is the “villain” of the film, she’s also a victim in a certain way, and the filmmakers have empathy for the trauma that she has endured. They don’t excuse her actions, but the reasons behind them are explained, and so the journey that Andy and Piper go on becomes more meaningful than if it involved a monster with no back story.

    Hawkins, who’s been nominated for two Oscars, elevates the film with her high-level acting. No matter what kind of weird thing Laura does, it feels grounded because Hawkins is bringing it to life. Barratt and Wong play their roles well, but it’s Phillips who’s the real revelation. Without speaking a word, he turns in a supremely creepy performance, one that’s especially amazing for the physical things he’s asked to do.

    Even horror film aficionados may not be able to anticipate the level of depravity on display in Bring Her Back. Unlike other movies in the genre, it’s not out for cheap thrills. The Philippous give it heart and soul, along with some of the most messed-up scenes you’ll see this year.

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    Bring Her Back is now playing theaters.

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    Movie Review

    Meta-comedy remake Anaconda coils itself into an unfunny mess

    Alex Bentley
    Dec 26, 2025 | 2:30 pm
    Jack Black and Paul Rudd in Anaconda
    Photo by Matt Grace
    Jack Black and Paul Rudd in Anaconda.

    In Hollywood’s never-ending quest to take advantage of existing intellectual property, seemingly no older movie is off limits, even if the original was not well-regarded. That’s certainly the case with 1997’s Anaconda, which is best known for being a lesser entry on the filmography of Ice Cube and Jennifer Lopez, as well as some horrendous accent work by Jon Voight.

    The idea behind the new meta-sequel Anaconda is arguably a good one. Four friends — Doug (Jack Black), Griff (Paul Rudd), Claire (Thandiwe Newton), and Kenny (Steve Zahn) — who made homemade movies when they were teenagers decide to remake Anaconda on a shoestring budget. Egged on by Griff, an actor who can’t catch a break, the four of them pull together enough money to fly down to Brazil, hire a boat, and film a script written by Doug.

    Naturally, almost nothing goes as planned in the Amazon, including losing their trained snake and running headlong into a criminal enterprise. Soon enough, everything else takes second place to the presence of a giant anaconda that is stalking them and anyone else who crosses its path.

    Written and directed by Tom Gormican, with help from co-writer Kevin Etten, the film is designed to be an outrageous comedy peppered with laugh-out-loud moments that cover up the fact that there’s really no story. That would be all well and good … if anything the film had to offer was truly funny. Only a few scenes elicit any honest laughter, and so instead the audience is fed half-baked jokes, a story with no focus, and actors who ham it up to get any kind of reaction.

    The biggest problem is that the meta-ness of the film goes too far. None of the core four characters possess any interesting traits, and their blandness is transferred over to the actors playing them. And so even as they face some harrowing situations or ones that could be funny, it’s difficult to care about anything they do since the filmmakers never make the basic effort of making the audience care about them.

    It’s weird to say in a movie called Anaconda, but it becomes much too focused on the snake in the second half of the film. If the goal is to be a straight-up comedy, then everything up to and including the snake attacks should be serving that objective. But most of the time the attacks are either random or moments when the characters are already scared, and so any humor that could be mined all but disappears.

    Black and Rudd are comedy all-stars who can typically be counted on to elevate even subpar material. That’s not the case here, as each only scores on a few occasions, with Black’s physicality being the funniest thing in the movie. Newton is not a good fit with this type of movie, and she isn’t done any favors by some seriously bad wigs. Zahn used to be the go-to guy for funny sidekicks, but he brings little to the table in this role.

    Any attempt at rebooting/remaking an old piece of IP should make a concerted effort to differentiate itself from the original, and in that way, the new Anaconda succeeds. Unfortunately, that’s its only success, as the filmmakers can never find the right balance to turn it into the bawdy comedy they seemed to want.

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    Anaconda is now playing in theaters.

    moviesfilm
    news/entertainment

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