If I Had Legs I'd Kick You - an uncanny study of mommy fatigue

If I Had Legs I'd Kick You 

Now that's a mouthful for a movie title. The light of the recent Lindsay Clancy case, there is an uptick in musings on maternal exhaustion and maternal regret. So many myths about the intuitive nature of motherhood are being busted. So many women voice their regret over embarking on the parenting journey. Many of these women are medial professionals, who seem to have access to all the resources in the system. In the film, Linda, a drained psychotherapist and mother to a medically complicated child, spirals into chronic, universal resentment, while her oblivious husband travels for work. Her daughter's diagnosis is never fully announced, but it's implied that she suffers from ARFID (Avoidant/Restrictive Food Intake Disorder)- still a controversial behavioral condition, regarded dubiously by many doctors. The choice of malady is not accidental. If your child has cancer, diabetes or seizures, at least they are guaranteed to receive sympathy and support. With a little understood condition like ARFID, the parents are on their own, often having to defend themselves and their parenting style. 

Rose Byrne is at a perfect age to reinvent herself as a stressed, resentful mother. She is past her sci-fi bombshell days. It was a good move to cast a withering bombshell for the role. 

The film is described as "darkly funny". And it's the pie in the face type humor! Crippling slapstick resulting in open fractures. It's the kind of laughter you burst into as an alternative to crying. Because you've cried before over the same issue so many times. 

"The Lure" 2015 - a gem in body horror

Greetings, commies!

Who is in a mood for some mermaid themed body horror? Look no further than the 2015 Polish horror film "The Lure". It tells the story of two sirens who emerge from the waters and perform in a nightclub. One falls in love with a man, and gives up her tail, but loses her voice in the process. The story is a reworking of the 1837 fairy tale "The Little Mermaid" by Hans Christian Andersen, with inspiration from Smoczyńska's experiences.  

If a male director had made this movie, he would have been branded misogynist - at least by the woke critics. But since the director is female, she runs the risk of being branded ... a pick me? Just kidding. Big fat kudos to Agnieszka Smoczyńska for not shying away from the idea that women can be malicious. Lately, the feminist movement has been pushing for female moral superiority. Meaning, if a woman commits an act of violence, it's because she is reacting to patriarchal oppression. Agnieszka Smoczyńska is not blaming men for the bloody acts of her two sister mermaids. They are simply acting out their inherent nature - two carnivorous sea creatures, who make a disastrous attempt at fitting in with humans.

The setting is important! The film takes place in the fictitious 1980s Poland. Historically, the country faced significant economic and social challenges under Soviet dominance. Smoczyńska creates a decadent, colorful, supernatural oasis against the backdrop of shame and deprivation. This Is not the Poland that most Poles born before 1980 experienced. But this is the Poland they may have dreamed of after watching bootleg American music videos. The director's own mother ran a nightclub, so she had plenty of first hand experience to lean on.  

Ultimately, the film is about vulnerable outsiders, who often have no other way to build social bonds except in the world of entertainment. Runways, immigrants, addicts often experience their short lived and sensational moment in the spotlight. The mermaid sisters - much like the Triton character - are doomed to being on the fringes of society. Their attempts of fitting in with the wounded and inapproachable mainstream lead to disasters. 

"The Lure" is an absolute gem in body horror. 

"Hamnet" 2025: cringey daddy guilt and grief porn

Greetings, commies!

Your heartless eyerolling monster is back ;-) You know it's my guilty pleasure to spit on other people's holy-of-holies. And today, the target is "Hamnet", the Oscar-nominated tear jerker. 

I have no issue with reimagining the past and spinning untold stories of cultural beacons like Mozart or Shakespeare. I don't necessarily hate the idea of injecting some modern sensibilities and ideas into a historical setting - as long as it is done carefully and strategically. "Hamnet" is not a very good example of the genre. Both the author of the novel and the director did a fine job creating an unconvincing tear-jerker.  

Enthusiastic fans of the movie refer to Hamnet's death as "unspeakable tragedy". In 16th century England, plague flare-ups were routine. Death of a child was hardly an unspeakable tragedy - it was a part of life. I can forgive the costuming liberties, that horribly impractical hippie red dress that Agnes wears. I cannot forgive the pushy-shovey 21 century ideology. The fact that Agnes would passively-aggressively punish her husband for "not being there" when their son died is a little outrageous. Elizabethan wives have lost teeth for less. Agnes is lucky she wasn't blamed for Hamneth's death. She is also lucky she did not get reported for her eccentric tree-hugging behavior and burned as a witch. 

Then there is the element of psychological inauthenticity. The makers of the film clearly do not know much about pediatric psychology. The whole idea of a sibling offering his life for a twin, bargaining with powers that be, tricking death itself - is over the top. When Hamnet started bargaining with death, I started grunting with frustration and rolling my eyes. Come on! Children are not capable of even contemplating such a sacrifice, let alone executing it by manipulating some invisible forces. 

If you want a convincing and compelling story of bereavement and grief, watch "Reservation Road" 2007. 

Grafted (2024) a blood-chilling study of Eurocentric esthetics

 

Synopsis:

Grafted is a 2024 New Zealand coming-of-age body horror film centering on Wei, a brilliant but socially awkward Chinese immigrant student with a genetic facial birthmark. After moving to New Zealand on a university scholarship, she attempts to complete her late father's secret, revolutionary skin-grafting research to hide her deformity. When faced with alienation from her popular cousin and peers, her obsession takes a dark, bloody turn as she begins harvesting skin from others to achieve the perfect face and ultimate popularity.

My thoughts:

Body horror for women always involves aesthetics. If you have not had enough of "The Substance" or "The Ugly Stepsister", add "Grafted" to your watch list. Wei, the tormented protagonist, actually has a somewhat legitimate grievance - a birthmark on her face and neck. Most psychologists and plastic surgeons would agree that wanting to remove a birthmark is legitimate wish and not an indication of body dysmorphia. While Elizabeth in "The Substance" is up against time, and Elvira in "The Ugly Stepsister" is up against her mother's expectations, Wei is fighting something more nefarious - Eurocentric beauty standards. Getting rid of the birthmark is not enough. After getting rid of the wine-colored stain, she is trying to erase her entire Asian heritage. The obsession leads her down the path of complete self-obliteration and assumption of other people's identities. 

Nuremberg: insulting parade of talking heads

 

I was so relieved that I was not the only person who hated this movie. And you are not supposed to hate movies that aspire to be serious. This is the most insultingly dumbed down treatment of the Holocaust theme. Nothing against the actors. Russell Crowe, portly way past his Gladiator days, seems to have settled into playing repulsive characters (check out "Unhinged", it's free on Prime). He was a logical choice for Hermann Goering. Rami Malek is both sinister and adorkable as Douglas Kelly, the psychiatrist tasked with crawling inside Goering's head. Both actors have no script to work with and no real direction. The exposition is delivered in a most clumsy manner. The writers assume that the viewers are dummies who know nothing about WW2 and the atrocities, so they make sure to produce a condensed ADHD friendly bio for each bad guy, from Goering to Hess. Chances are, if viewers are choosing this film from a list of many, they must know enough about WW2 and the "Final Solution". You are left with the main idea: "Human beings ... are not nice people." 

Delicatessen 1991: love in the time of cannibalism

Synopsis: 

In a post-apocalyptic society where meat is scarce, cannibalism is no longer unsavory. And when a young ex-clown takes a job in a dilapidated deli, he's completely unaware that the butcher plans to serve him to the building's bizarre tenants! But when the butcher's nearsighted daughter falls for the clown, she'll go to absurd lengths to foil her father's plan!

My thoughts:

If levity is your antidote to existential anxiety, if you are in a mood for some postapocalyptic giggles, definitely give this black comedy a chance. Between climate change, inflation and global conflicts, this film is a little bit too much on the nose.  If you are impressionable and prone to catastrophic thinking, you'll find it easy to picture yourself among the residents of that smoke-shrouded apartment buildings. A few words in defense of the characters in the film. They are not born monsters, just captive participants of a horror show. They certainly did not cause it, not directly. They still remember enough of the world as it was before the catastrophe. They still go about their daily lives. Women still paint their lips red, style their hair, try to flirt and fornicate ... much like the women of Vichy France. The ambience is strangely ... philistine and cozy. It shows that humans can adjust to most absurd and horrendous of circumstances. They will create their own version of "normal". 

Sissy (2022) horrifyingly cathartic revenge fantasy

Plot summary:

Sissy is a 2022 Australian indie psychological horror film starring Aisha Dee in the title role as Cecilia (aka Sissy), a successful social media influencer who is invited to a bachelorette weekend by her close childhood friend before it turns into a nightmare.

My thoughts:

I found the film disturbingly satisfying. Having faced my share of exclusion throughout adolescence, there were so many moments when I actually winced in pain. Ouch. Those subtle yet strategic stabs, delivered with an air of innocence ... by people one would not immediately suspect of malevolence. You see, it's easy to vilify the skinny, conventionally pretty blonde. That type has been the low hanging fruit for the mass produced teen dramas and comedies. In reality, bullies do not always look like the proverbial Regina George. Sometimes they have a little bit of meat on their bones, are in a same-sex interracial relationship (which automatically scores them moral points), like Emma and Fran, and talk about empathy and tolerance. Sometimes they have physical limitations like Jamie. These are not the typical aggressors that come from a place of bottomless privilege. They position themselves as somewhat marginalized ... which kind of unties their hands to commit acts of relational cruelty. In many cases, people from historically marginalized groups feel almost entitled to cast the first stone. And sometimes the principal bully, who does most damage, does not initiate acts of aggression but stands compliantly. 

Faces In the Water: a smart victim bleeds in all the right places ...

Greetings, commies!

Hope you had a fabulously dark anti-Valentine's celebration. Your queen of disaster and cynicism has a new treat for you. Check out my latest novel Faces In the Water. 

Dr. Sheila O’Neill is a young English Lit professor at a mediocre college, ostracized for her unfashionably right-wing views and crude jokes. Lacking allies in the workplace, she vents to an online friend Jake, a reclusive autopsy technician who shares her cynical worldview. A sinister bond forms out of their virtual banter.

With Jake’s encouragement, Sheila starts writing a historical novel about a disfigured Anglo-Irish noblewoman trying to survive in 17th-century Paris amidst religious paranoia. The novel is intended to boost Sheila’s career and set her apart from her vindictive colleagues. Plunging into the world of her suffering heroine, Sheila becomes enchanted by the idea of victimhood and the hidden perks that come with it. As lines between fiction and reality blur, she discovers that deformity can take you farther than conventional beauty.

Traumatika: a male demon behind the tormented woman

Synopsis:

Touted as "a demonic masterpiece," Traumatika follows a young boy whose night terrors come to life when his mother succumbs to a terrifying possession-unleashing a horror that will haunt him for life and claim countless souls across generations.

My thoughts:

If you enjoyed Pierre Tsigaridis' "Two Witches", examining the demonic feminine, "Traumatika" is a logical sequel, this time adding a masculine demonic figure to the mix. Like David Lynch, the director creates two-part narratives (think "Lost Highway" and "Mulholland Drive"). My primary complaint is that the character of Abigail is turned into a dumping vessel for trauma. Too much at once. Medical complications, facial differences, domestic violence with a resulting pregnancy, self-administered abortion, demonic possession, suicidal inclinations - all too much for one person. After you see Abigail's body channel all that pain, you wonder what was the last straw. At some point you don't see a person. You see one open, oozing wound. And of course, the perpetrator of all that pain is male. Too much is done at once for shock value. That being said, I look forward to seeing this director's repertoire develop. 

Desperate Romantics: raunchy, artsy Victorian punk

 

Synopsis:

In this period drama starring Aidan Turner, Samuel Barnet and Rafe Spall, 19th century London is in the throes of the industrial revolution. Amongst the dirty red bricks and smoke stacks are four young, thrill-seeking artists -- steadfast William Holman Hunt, naive John Millais, mischievous Dante Gabriel Rossetti and budding journalist Fred Walters -- otherwise known as the Brotherhood. Their quest for artistic immortality takes them into some of the lewdest, darkest and funniest corners of the city. Joining them is sassy, sexy model Lizzie Siddal. But is she risking it all with this dangerous bunch?

The Pre-Raphaelite Brotherhood (PRB) was a secret 1848 group of English artists, including Dante Gabriel Rossetti, John Everett Millais, and William Holman Hunt, who rejected the Royal Academy's academic style by returning to the detail, color, and sincerity of Italian art before Raphael, focusing on nature, literature, and medieval themes with intense realism and symbolism, influencing later movements like Arts and Crafts. 

My thoughts:

Desperate Romantics was included in the list of best British miniseries that most Americans don't know about. You know my penchant for finding hidden gems, so I was absolutely tickled to hear about this series. This is not the first dramatization of the Pre-Raphaelite brotherhood, but this is the most relatable one for modern audiences. 

This is a highly stylized adaptation. You should not expect 100% historical accuracy when it comes to mannerisms and attire. It was not typical for Victorian women, regardless of social status, to wear their hair down. It was impractical and unsafe. The fact that Lizzie Siddal wears her iconic ginger mane untamed is very anachronistic. The choice of coif emphasizes her status as woman outside of social norms. The punk soundtrack is very suitable for the overall ambiance of rebellion. 

Comedy and tragedy, rough sex and death are intertwined in the best British tradition. 

The show explores the painful topic of being "friendzoned". Fred Walters, a journalist and narrator, finds himself pining for the romantic "leftovers" of the brotherhood. He hovers over the models and exploits the opportunities to get close to them. He appears reconciled to the fact that he's never the first choice and makes most of what his position within the brotherhood gives him. 

People of Pleasure: the story of the big little girl

Greetings, commies and art lovers!

For your esthetic pleasure, here is my latest novelette in Bewildering Stories. My first historical piece with a dual timeline - 2024 Philadelphia and 17th century Spain. As far as I know, there aren't any fictional accounts of Eugenia Martinez Vallejo, the big little girl in the painting of Juan Carreno de Miranda, the court painter for the Spanish Habsburgs. I have mustered the courage the tackle the story of the gargantuan child-muse that tickled the fancy and, possibly, stirred the hearts of the Spanish royals. 

https://bewilderingstories.com/issue1116/people_pleasure1.html

No Cherries In This Orchard: a tale of survival under Nazi occupation

Greetings, commies!

It's time a shared one of my recent stories. This one is rooted in family history - specifically the part of family history that was not talked about. Set in the Asmena region (historically Baltic, became somewhat of a disputed territory) "No Cherries In This Orchard" is a tale of survival and moral ambivalence under unthinkable circumstances. 

1941, Nazi occupied Lithuania. Twenty-year old Emilia, a struggling farmer, resentfully collaborates with the new regime - it's the only way to keep her village from being burned down. When Hester, a Jewish teenager turns to her for protection, Emilia must employ her theatrical talent to distract the German officer who has taken over her house. The girls despise each other, but a shared enemy forces them to form a pact. 

https://www.bewilderingstories.com/issue1112/no_cherries1.html

Two Witches (2021) - an antifeminist gem

Synopsis:

Tracing the parallel stories of these two women's confrontations with the supernatural, TWO WITCHES is a roller-coaster ride into a sisterhood bound by legacy and bathed in blood.

My thoughts:

Usually, when there is more than one storyline in a film, the rule of three applies. "Two Witches" takes the approach of almost Lynchean dual narrative with a loose overlap. For some reason I thought of David Lynch's "Lost Highway" when I examined the structure of "Two Witches". 

I am actually thankful that this depiction if witches deviates from the "female empowerment" narrative. There are too many films depicting witches as noble, enlightened rebels against the white Christian patriarchy. Thankfully, in this film, witches are shown for what they are - malevolent, manipulative entities. And no, women "don't stick together". Women harm, deceive and kill other women. If anything, it's a refreshingly anti-feminist movie, and that alone deserves five stars. 

Weapons (2025) - public education is the new frontier in horror genre

Back to school, commies!

I realize that suburban horror is a slow-growing "it" subgenre. It's never going to explode to the level of zombies or vampires. I would even say, public education is the new frontier in horror. The multiple narrator format is not exactly original but very effective, contributing to the effect of a puzzle.

If you are considering a career in public education, think twice. You will have to deal with the same mental torments as the martyr/protagonist Justine. As a teacher, there are so many things you cannot do. So many restrictions, taboos, hangups, hidden mines aka "boundaries". You cannot hug a crying child. You cannot give the child a ride home. In many cases it's almost easier to look away and pretend like you don't see the child's suffering, because there are ramifications for getting too involved. At the same time, there are so many stories of bullying, child abuse, abduction. As a teacher, you have to have thick skin and minimal peripheral vision. To preserve your own mental health, you have to tune down your empathy and altruism. This is the main theme of the movie. 

There were a couple of moments that took me out of the story, oddly placed allusions and cameos. The shadow of a giant firearm hanging above the "haunted" house. A little too obvious. Is it a hint to a school shooting? The villainness, Gladys, is made to look like Pennywise's cousin. The bright orange wig and clownish makeup makes her stand out. She would have been much more sinister in the form of a regular soccer mom. That would help her blend in with the community and do even more damage. 

The Whale (2022): an overbearing tear jerker

 

My thoughts:

You know you are a terrible, terrible person without a heart, when you don't swoon over tear-jerkers like The Whale (2022). Instead of sobbing, you suddenly find yourself cringing, gagging and rolling your eyes. In my defense, I really, really wanted to like and empathize with the main character. It's just that the writers went a little ... overboard in their attempt to create an Olympic all-around martyr to cater to the woke audiences. 

It's nice to see Brendan Fraser get away from his usual adventurous pretty boy image. It's true what they say: if you want to establish yourself as a "serious" Oscar-worthy actor, you should put on 100 pounds (or at least a fat suit) or play a mentally ill character. Fraser's character is a yummy triple threat: morbidly obese, depressed AND gay. With a cherry on top: mourning his dead boyfriend, for whom he had left his wife years earlier. What's not to love. A perfect storm of popular triggers. You see, if Charlie had left his wife for another woman, he'd be just another "cheating scumbag". But since he left his wife for his male student, it somehow makes him more ... sympathetic? As if the marginalized status of gays somehow softens and neutralizes the sting of abandonment. You know Charlie is a good person (sarcasm alert), because he leaves morsels of cold junk food for pigeons. This way poor rats of the sky can partake in his food addiction. You know how selfless he is (again, sarcasm alert) for avoid medical attention for his mounting health problems, because he is - awwwww - saving that money for his estranged daughter.  He feels guilty for letting her down, so he wants the rest of the world to feel guilty with him. By deliberately destroying his body and refusing medical care, he makes himself a martyr. If you, like me, have been "blessed" with a self-destructive parent who engages in similar behavior, you will absolutely gag at this flamboyant, manipulative self-sacrifice. Brendan Fraser was hailed by many viewers and critics for his tour-de-force performance as a grotesque figure. In his defense, he did the best he could do with an implausible script. He did his best to portray a character who's nothing more than a compilation of trauma, most of it self-induced. 

Madame Noir: a study of moral ambivalence

Greetings, commies!

If you cannot commit to a full length novel, check out this brilliant short story from a historical novelist Kim Rendfeld. Hopefully Madame Noir will excite your literary taste buds and prompts you to check out her Carolingian series. 

Synopsis:

Las Vegas, 1911: Madame Noir hopes to escape her past of divorce and prostitution with her new-found trade as a spiritualist and medium. When a new client asks for help with a life-changing choice, Madame Noir must do more than convince the young woman she can communicate with the dead. She must free her from her demons while she confronts her own.

In this short story, author Kim Rendfeld imagines a middle-aged woman with few options daring to start a new life and find redemption.

My thoughts:

I have been a fan of Kim Rendfeld's historical fiction for a while. I've read all of her full length Carolingian era novels. She has already proven that she can handle novel length fiction with in-depth character development. Crafting compelling short stories is a whole different skillset. Her story "Madame Noir" is nothing short of a tour de force. She manages to squeeze a whole universe into a piece of short fiction. The story reveals the unsavory and unflattering reality of being a woman in early 20th century America, a place of opportunity to rise - or fall ... and rise again. Pre- WWI world was in flux politically, socially, industrially, even religiously. The story's protagonist capitalizes on the addictions and superstitions of the people around her to survive in a morally ambivalent world. The story touches upon such complex issues as internalized misogyny and judgment that women impose upon each other. With a few strategic strokes, the author is able to paint compelling back stories for her characters. 

The Ugly Stepsister: Bachelor meets The Substance

 

Synopsis:

Elvira dreams of the weak-kneed virgin, Prince Julian, and is willing to go to great lengths to conform to the kingdom's ideals of beauty. A surprising and raw twist on the fairy tale `Cinderella', seen from her stepsister's point of view.

My thoughts:

I have been waiting for this body horror gem. It takes a dark Scandinavian soul to revamp the Cinderella story in such a twisted, delicious manner. It's not the first time the story is retold, but it's the first time it's told from the point of view of one of the "ugly" stepsisters. I am delighted to see so many unapologetic, uncompromising female European directors send their visions forth. After watching Coralie Fargeat's The Substance (2024), I was smacking my lips in anticipation of  Emilie Blichfeldt's "The Ugly Stepsister" . Only women understand the depth of self-hatred that leads us to desperate self-mutilation. Only women understand our love-hate relationship with our bodies, our female relatives and perceived rivals. All this mess concoction is flesh out in "The Ugly Stepsister". Of course, the actress who plays the titular character Elvira is a model in real life. Lea Myren is traditionally attractive, and it took a few special effect makeup tricks to make her face appear puffy and asymmetrical. Elvira is only ugly in the eyes of her greedy, ambitious mother Rebekka, who is panicking over her own esthetic decline. Rebekka is not a source of evil by herself. She is yet another casualty of a very unhealthy value system. There are plenty of female characters who support this system, including the women who run the finish school for girls, the nurses who assist with grisly cosmetic surgeries. Agnes, the Cinderella figure, meekly accepts the prospect of marrying a man she does not love to advance her social standing. She is willing to relinquish her stable boy lover for the chance to marry Prince Julian. Even though both of her parents are dead, and nobody is really pressuring her into marrying the prince. It's the pressure Agnes puts on herself. The only sane, levelheaded female character in the story is Elvira's prepubescent sister Alma, who is not on the dating market yet. In the end, Alma proves to be the last thread to redemption, as she pulls her mutilated older sister out of the nightmare. All in all, this movie is NOT a feel-gooder with a happy ending. It will make you evaluate your relationship with your body and your alliances. 

Anora: a tasty fusion of Russophobia and misandry

 

So much has already been said about this firecracker of a dark comedy. I will tell you what I personally appreciated about it. The narrative doesn't rely on stereotypes. The privileged male is not a predatory, older oligarch with piggish features. He is a 21-year old imbecile. He is actually a few years younger than the woman whose company he buys. Anora herself is not a stereotypically Slavic blonde with inflated lips. She's actually of Central Asian descent, probably Tadjik, as her name suggests. Historically, Russians have been the dominant culture that subjugated other ethnic groups. The manager who works for the Russian oligarch is an Armenian. Casting an actress with a more racially ambiguous look was a smart move.  Anora blends in well into the underworld of New York. She could pass for Latin or Middle Eastern. 

Another commendable fact is that the Russian characters are actually played by Russian actors. (Imagine that!) That means, no cheesy James Bond villain accent. I encourage you to check out some of the Russian movies they starred in. You can see Daria Ekamasova in the 2011 "One Upon a Time There Lived a Simple Woman" - another great tale of feminine lot. Yura Borisov stays true to his image as gopnik with a heart of gold. He started his career as a Chernobyl hero-martyr in 2014 "Inseparable". These are some solid actors who nail their parts in "Anora". 

Immaculate: the flip side of Rosemary's Baby

Synopsis:

An American nun embarks on a new journey when she joins a remote convent in the Italian countryside. However, her warm welcome quickly turns into a living nightmare when she discovers her new home harbours a sinister secret and unspeakable horrors.

My thoughts:

Sydney Sweeney, who usually portrays highly sexualized characters (for obvious reasons), takes a detour from her typecast as a wide-eyed bride of Christ. The trope of an American embarking on a sinister adventure in Europe is not exactly groundbreaking, but the Italian setting is perfect for this thriller. The convent is claustrophobic powder keg with its own hierarchy and secrets. Rivalries and jealousies boil hot in a closed off all-female group. Whether you are carrying Satan's baby or God's, the end result is distressingly similar. 

"Heretic" - a crash course in comparative theology

Synopsis:

Two young missionaries become ensnared in a deadly game of cat and mouse when they knock on the door of the diabolical Mr. Reed. Trapped in his home, they must turn to their faith if they want to make it out alive.

My thoughts:

Not to be a nitpicker, but the title of the movie, "Heretic" is a bit of a misnomer, because the lead villain (or is he?) is more of a nihilist than a heretic. Technically speaking, heresy is a perceived deviation from the dogma, not dismissal of dogma. I realize that the term "heretic" is catchier and more marketable, instantly pigeonholing the film in specific genre. Most religious horror is flat and predictable, with a strong anti-religious message - or an "Exorcist" derivative. This particular film is admirably stimulating and challenging. Kudos to the screenwriters who managed to digest a lot of comparative theology to make it more palatable. If you have a lot of background knowledge in religion - you will find yourself nodding through some of the dialogue. If your knowledge of religion is very basic, and all customs blend into one, you will learn something new. 

 

A few words about the villain (or is he?) Hugh Grant aged out of his "dreamy bad boy" image. Now he plays a creepy old man. I was surprised that the sexual component was underplayed, despite the dynamic of a sinister older man holding two young girls hostages in his labyrinth of a house. There was no element of seduction/coercion. Thank you for leaving that predictable trope out of the equation.