THE STORY – American social psychologist Ben Monroe investigates a local cult in Berlin that is linked to a disturbing event, while his daughter becomes drawn into the world of a mysterious boy.
THE CAST – Eric Bana, Sadie Sink & Sylvia Hoeks
THE TEAM – Jordan Scott (Director/Writer)
THE RUNNING TIME – 94 Minutes
What drives an individual to commit an unsettling act of violence will always be a prevalent fascination within the culture. Entire media industries have been constructed around this exploration, attempting to uncover facts that build the pathway into the horrific events that soon unfold. Much of this interest seems to have heavily pertained to the world of true crime, which is not a shock given that the world’s appetite for insidious behaviors brings them to an immediate sense of reality. At the same time, fictionalized accounts can still uphold a similar methodology in examining such twisted webs. “A Sacrifice” may not take direct inspiration from any true event, but its delivery evokes many hallmarks of what drives the masses to investigate. These efforts result in a tepid showcase that feels mostly inert.
Set in Berlin, Ben Monroe (Eric Bana) is a social psychologist working on his latest book on the persuasive power of collective groupthink. His research leads him into the investigation of a recent mass suicide, believed to be connected to cult activities. The lead investigator, Nina (Sylvia Hoeks), is skeptical of his involvement at first but soon opens up when it seems he can provide insight into her own process. The work is complicated by the arrival of his teenage daughter Mazzy (Sadie Sink), whose relationship with her father is already fraught due to her parents’ divorce. She seeks solace in a stranger she has just met, a handsome young man named Martin (Jonas Dassler). The pair are immediately drawn together, and as their relationship deepens, Martin extends an invitation to his private world. He reveals that he is part of an environmentalist group with extreme views on combating the global crisis. Plans are underway to envelop Mazzy into this small yet dangerous society, and it soon becomes imperative to save her from this terrible influence before it’s too late.
Despite its short constraints of barely gliding over the ninety-minute mark, this film also feels like it takes a significant influence from modern television procedurals. The presentation, which slowly introduces information regarding the crime as it’s juxtaposed against the personal lives of the characters, maintains an aura of prestige serial dramas that have become so popular. However, writer-director Jordan Scott never quite finds the right avenue to make this material all that compelling. The filmmaking attempts to create a sense of uneasy tension meant to elevate the stakes, but nearly every storytelling decision comes across as very pedestrian. The characterizations are broad and easily tracked, which is a great disappointment considering some motivations are meant to be concealed, but their ultimate revelations are very easy to spot. To be clear, there’s nothing inherently wrong with correctly guessing a twist. However, it’s a detriment when the pieces haven’t been laid out more engagingly to craft that emotional connection naturally.
Mundane is the operative description for much of the film’s tone, as most of the sources for the conflict come from banal incentives that aren’t intriguing to unearth. The objectives at the core of this cult aren’t anything more complex than a simple mission statement of eliminating as much human impact on the planet as possible, and no other evolved or more nuanced commentary is ever provided. The rift between father and daughter is a standard affair with a basic foundation that similarly remains stagnant until the very end. Even the secret desires meant to be surprising disclosures are thinly etched within the framework. Whether the depth of the characters or the larger thematic philosophy, the commentary is weakly composed and doesn’t leave a lasting impact.
Unfortunately, most performances are just as uninspiring as the story surrounding them. Bana does his best to be a solid anchor but can’t elevate the role beyond a stoic figure with a few vulnerabilities that peek through. One can sense the urge to dig deeper, but the greater complexities just aren’t there for him to shine. The same is said for Sink, who is saddled playing a girl whose actions come across as more immature than may be intended. There’s an interesting point that can be made, but it wades into familiar territory without much innovation. Similar feelings for Hoeks are present in her limitations as well. Sophie Rois has an alluring persona as the cult leader who manages to make the most of her small role, but the real standout here is Dassler. He’s the only one who finds some engaging internal combat, and he delivers the singular, captivating performance in the ensemble. He brings an invigorating energy whenever he’s on-screen and provides a riveting portrayal.
It’s easy to tell that “A Sacrifice” is meant to be a pulpy thriller that elicits a similar response that one has to the typical explorations of criminality that have become so dominant. While the structures are in place for such a comparison, it ultimately comes up very short. The listless plotting and shallow characters constantly impede one’s engagement, acting as roadblocks to any avenue that could possibly hold more enthralling aspects. Not even the actors can save this lifeless endeavor, with the exception of Jonas Dassler and his engrossing talents. Unfortunately, the film comes across more as a nondescript knockoff of more memorable fare in this genre, leaving this piece to fade into forgettable results.
