PLOT: In a world where no one speaks, a devout female-led community hunts down a young woman who has escaped imprisonment. Recaptured, Azrael is due to be sacrificed to an ancient evil in the wilderness, but fights for her own survival.
REVIEW: I’d consider Samara Weaving to be one of the best actresses working in horror. Her work in Ready or Not, The Babysitter, and Scream 6 has cemented her as a standout in the genre. Her natural charisma always shines through in her work. And she always picks such interesting roles that I’m not surprised to see her choosing one entirely lacking dialogue. But Azrael is more than just its gimmick, providing a badass new heroine and an intriguing world that I’d love to see more of.
It’s hinted at (and downright stated in marketing material) that the Rapture has happened. Those left view speech as sin, so everyone has gone willingly mute. There’s no mysterious virus causing this, they’re doing it of they’re own volition. And I love how the film doesn’t hold your hand with the narrative. All too often the audience is beaten over the head with an idea, versus simply letting us comprehend it through storytelling. It does a great job of letting the story play out, never trying to explain what’s happening for clarity’s sake. I kept waiting for some scene with a massive exposition dump but it never happened.
Samara Weaving is, as expected, absolutely incredible. She really gets put through the wringer, being covered in mud and blood throughout the film. She goes from a woman just trying to survive to one out for revenge. Obviously, the events around her help shape this for the viewer but Weaving’s performance sells it.
The world is decidedly post-apocalyptic, but it’s clear groups are living vastly different lives. There are hints towards there being a speaking society, adding even more questions to what is really going on here. The film is intercut with various quotes on red lettering, making it feel very old school, with some religious undertones. I absolutely loved the design of the monsters. They almost looked like all of the color was sucked out of the cave dwellers from The Descent. Combine that with their creepy movement and they’re an intriguing villain. I wish they would have done a little more than just drink blood and claw at people, but oh well. It’s the other human’s reactions to the creatures that sell their power.
This is easily Simon Barrett’s best script since You’re Next, and I can only imagine how tough this was to write. Dialogue often does the heavy lifting, often clarifying things for the audience’s sake. Azrael is the only character worthwhile, but that’s how it should be. I didn’t need to know about the people in the encampment. They were trying to kill Azrael so I shared no sympathy towards them. This is really all about Azrael’s journey and everyone she meets is just a sentence in her story. The only character that really feels shortchanged is Azrael’s travel companion (and probably lover), Kenan (Nathan Stewart-Jarrett). Since we’re viewing the narrative through Azrael’s eyes, we know he’s important, but the lack of dialogue never really gives context. And with how little screen time he gets, it’s hard to establish that through action.
Though I’ll admit that Azrael does get bested, only to escape a few too many times. But each time sets up a fantastic set piece involving the creatures of the forest, so it didn’t bother me much. I’d say many of the story beats are expected, but it’s mostly just seeing it all done with such primitive communication that works so well. The gunplay feels a little sloppy, lacking any real impact. I wish they were used as more important tools for survival, given they’re the cause of death of so many in the film. But instead, those moments are quickly moved on from.
Ultimately, Azrael is going to be a tough sell for audiences. Having a film that’s practically void of dialogue makes those willing to take the journey surprisingly small. But if you’re willing, you’ll be rewarded with a fantastic performance from Weaving and some absolutely gorgeous visuals. There’s some bland story beats but the aesthetic really carries it across the finish line. I wish film novelization were still a prominent thing.
AZRAEL IS PLAYING EXCLUSIVELY IN THEATERS ON SEPTEMBER 27TH, 2024.
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