never let go It’s Alexandra Aja’s latest, but decisive departure from the director of 2019’s Solid Creatures feature crawlsticking to the formula of a post-apocalyptic landscape, two brothers and their mother survive in a house in the middle of the woods that’s roped off to the basement. If they leave the rope, evil will catch them. Only their mother can see this evil, but it’s tempting at any time – put snacks, food and other important items out of reach of the rope and dare the little boys to move it away. Encourage them to become victims.
The film positions itself as a tense, highly focused thriller with family as the core bond; Anthony B. Jenkins and Percy Daggs IV play Nolan and Samuel, brothers whose The approach varies, the characters are sparsely drawn, and the main purpose is to agree or disagree with their mother. Samuel objects to Nolan’s devotion to his mother, questioning the evil that only she can see – but is it all part of an evil plan? never let go Not quite having the same constant guessing factor Don’t say bad wordsbut initially, it’s enough to guess you. The more layers are peeled back behind Halle Berry’s mother, the more her past is revealed, the more you, the viewer, begin to doubt her.
This movie tries to have the best of both worlds – make you believe in evil while keeping you skeptical. Its final scene left me completely lost because it never really convinced me that it took the family dynamic and subverted it in the form of an evil that only the mother could see. You’re constantly left guessing, and every move the film takes to subvert it doubles down – but the world it creates and the well-worn mythology it creates are enough to keep me hungry; learn more quickly never let go Coming Soon – culminating in a disappointing conclusion that was never fully promised early on.
The technical level builds suspense and the creepiness factor is there; you get a creepy sense of unease, and that’s what Aja excels at. But having said that; the film never really reaches a point where it matches the heights of the close-knit region. crawl Once the truth comes out, those creepy moments disappear. The film has Shyamalan-esque family themes running through its core plot, but it never really does it justice; Trap did it just this year, but the film does what it does best in its world. One thing that was built was the house at its epicenter. It feels real; its emotional beats are the film’s greatest strength, though they also have flaws, and you can see a mother and her sons vying for her love, but being manipulated by evil to do so. It questions how long one can last – how long one can hold on – and its successes are mixed; it’s never exciting enough to be engaging.
