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| REVIEW OF Bring Her Back 2025 |
A24
- Cast: Sally Hawkins, Billy Barratt, Sora Wong, Jonah Wren Phillips, Mischa Heywood, Stephen Phillips, Sally-Anne Upton
- Music: Cornel Wilczek
- Cinematography: Aaron McLisky
- Producers: Samantha Jennings, Kristina Ceyton
- Runtime: 103 Minutes
- Screenplay: Danny Philippou, Bill Hinzman
- Direction: Danny Philippou, Michael Philippou
Synopsis
Young Andy (Billy Barratt) and his blind stepsister Piper (Sora Wong) share a strong bond, as he tries to make the world less difficult for her. After their father dies unexpectedly in the shower, they are forced into the foster care system against their will. Andy is just a few months away from being legally able to care for Piper himself. Until then, they must live with Laura (Oscar-nominee Sally Hawkins), a single mother whose own blind daughter, Cathy (Mischa Heywood), drowned some time ago, and whose other 'son' Ollie (Jonah Wren Phillips) has been mute and prone to violent outbursts ever since.
Laura appears eccentric—her wardrobe, wild hair, and the design of her isolated forest home reflect this—but she sees Piper as a replacement for Cathy. As time goes on, it becomes increasingly clear that she intends to remove Andy by any means necessary in order to keep Piper for herself. As the days pass, the step-siblings begin to realize Laura’s true intentions, and her plans begin to unravel when Ollie starts acting demonically.
In this second feature film, directors Danny and Michael Philippou immerse us in an unsettling world through the use of overhead shots, close-ups, and blurred visuals (to highlight Piper’s visual impairment). The mise-en-scène guides us through Laura’s steps and the dangers the children will face: the constant presence of water, circular motifs around the house, and a sense of entrapment as the siblings are visually enclosed when they arrive.
Sora Wong and Billy Barratt carry the film, portraying two kids trying to deal with grief after the loss of their father. They face the inevitable transition into adulthood, all while surrounded by satanic rituals shown through found footage. This is where the directors initially build a captivating atmosphere, but as the story unfolds and intentions become clearer, the tension fades. The film falls into certain clichés that lessen its impact—an abrupt third act, unresolved plot threads, etc. Jonah Wren Phillips deserves special mention—a name to remember, possibly the new face of horror—thanks to a chilling performance enhanced by outstanding makeup work.
As always, it's a delight to watch the GREAT SALLY HAWKINS, one of the best actresses of her generation, once again disappearing into a role. Her portrayal here makes us forget Elisa Esposito from The Shape of Water (2017), Ginger from Blue Jasmine (2013), or the unforgettable Poppy from Happy-Go-Lucky (2008). Her charm and presence dominate the film—which is appreciated—but it ends up overshadowing the real protagonists. Still, even when her scheme is exposed, it’s impossible not to feel empathy for a woman also grieving, making misguided choices to (as the title suggests) bring back what she’s lost.
“Bring Her Back” (2025) is sincere in its story but suffers from predictability and a rushed resolution. It doesn’t make full use of all its elements; perhaps the focus on familial bonds—both in life and after death—outweighs the horror, creating a contrast that leads us to ask: Where is the logic in all this?
RATING FOR “BRING HER BACK” (2025): GOOD AND A HALF
(3.5 out of 5 stars)