By Becca Johnson August 25, 2024
Almost five years ago to the day, Mat Betinelli-Olpin and Tyler Gillett’s 'Ready or Not' hit the big screen. Out of all the praise the movie received, one thing stood out - Samara Weaving. Still going strong within the horror genre, she’s now the leading lady in 'Azrael', a horror-action hybrid directed by E.L. Katz. Set in a world where no-one speaks, a devout female hunts down a young woman who has escaped her imprisonment. Recaptured by its ruthless leaders, Azrael is due to be sacrificed to pacify an ancient evil deep within the surrounding wilderness. However, Azrael will stop at nothing to ensure her freedom and survival.
Tremendously acted with plenty of action, satisfying gore and good use of its location, 'Azrael' provides enough entertainment to shift focus from its sub-par story.
Review
Samara Weaving is a household name by now, particularly when it comes to the horror genre. Already dubbed as ‘the new Samara Weaving covered in blood film’ even before its release, 'Azrael' is bound to have plenty of viewers for her alone. Luckily, her performance is utterly fantastic, which is even more impressive given that she has no dialogue to deliver. Weaving puts everything she has into this very physical role; Azrael is a determined, strong individual that also has an understanding nature to her in places, and Weaving showcases every inch of that. Due to tremendous use of expression and body language, we are always able to tell how her character is feeling, despite her not being able to tell us. It may not be her most complex work to date, but it sure is a strong addition into her filmography. Good supporting performances are also delivered by Nathan Stewart-Jarrett (Misfits), Vic Carmen Sonne (Godland) and Katariina Unt (November) alongside the rest of the cast, though this is undeniably Weaving’s movie.
An action-horror combo, 'Azrael' boasts equal measures of both, meaning it’s bound to keep audiences invested and entertained. With just an 85 minute run-time, the combat and survival nature of the movie starts near enough straight away, rarely letting viewers pause for a breath. The action is well choreographed and takes the fan-favourite ‘good for her’ approach, with Azrael kicking plenty of ass and taking down many villains that cross her path. She’s certainly put through her paces, as her fights become more aggressive and dangerous as the run-time progresses. The forest setting aids the action really well, as the team make full use of the trees, shadows, cabins and hiding places that the location provides. This also allows for some great cinematography to pull through, with the looming, all-consuming darkness giving 'Azrael' a bleak and unsettling tone. The scares mostly take form of body horror, with plenty of gnarly visuals, great use of practical effects and a lot of blood spilled. There’s a couple of stand-out scenes that manage to be quite stomach-churning in their gore, making for some really effective grisly sequences. The design of the creatures themselves is also commendable, as they look utterly gruesome and downright terrifying. Used sparingly at first but taking over more of our screens as the movie goes on, the script allows us to be freaked out by these human-like beasts for the entire 85 minutes. From a horror stand-point, it’s quite successful.
The dialogue-free trope is certainly making a comeback, due to the success of features including Krasinski’s 'A Quiet Place' franchise. Where that trilogy finds clever ways to input speech and dialogue here and there, 'Azrael' doesn’t, which does help it stand out amongst the vastly populating sub-genre. The speech-free narrative may be a gimmick, but they fully lean into it, and it’s worth commending them for. There are also a handful of excellent sequences that prove 'Azrael' is worth watching, the ending being one of them - it is actually quite bold in approach, and certainly memorable. However, the rest of the storyline surrounding the action, horror and ending is very sub-par. It’s easy to follow and doesn’t attempt to push the boat out too far, which is helpful for a film of this style and length, but the issue is within how formulaic it is. Following familiar beats throughout, 'Azrael' presents over-used ideas and predictable outcomes as far as the post-apocalyptic theme is concerned, ultimately making it hard to complete immerse yourself and invest in the story. The use of story is perhaps an exaggeration, as there isn’t really one at all. It’s hard to tell what Azrael is fighting for, as we don’t know much about this world that’s she living in. With no context for the action taking place, a lack of backstory and no tangible through-line, there is quite a disconnect here between the film and the audience.
'Azrael' works best when considered a showcase for Samara Weaving’s final girl ability. She carries this film on her shoulders, delivering the action and emotion needed with undeniable talent. The cast around her are also up to the task and fully commit themselves, with aesthetically pleasing cinematography, gruesome horror, fun action, an interesting location and a very prominent original score to tie it all together. The story may not quite be up to scratch, but if you go in expecting an action-fuelled brain switch-off, you’re bound to have a good time.
Star Rating
'Azrael' premiered at Frightfest London 2024 August 25
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