THE STORY – Following the death of her husband, Alice and her late husband’s family come together at a secluded house. The gathering becomes a “family reunion from hell” as members gradually turn into Deadites.
THE CAST – Souheila Yacoub, Hunter Doohan, Luciane Buchanan, Tandi Wright, Erroll Shand & Maude Davey
THE TEAM – Sébastien Vaniček (Director/Writer) & Florent Bernard (Writer)
THE RUNNING TIME – 110 Minutes
The philosophy behind “The Evil Dead” franchise has been a fascinating venture to watch unfold over the years. The first three films in this franchise were pure, unadulterated products of Sam Raimi’s demented vision. They were a mixture of horror and comedy, a mixture that varied in lopsided proportions depending on the particular film, yet still carried the crazed sensibilities of his unique style. When he decided to step away from the director’s chair and into the role of producer for the subsequent entries, the series became more of an opportunity for new filmmakers to bring their own perspectives to the material and breathe new life into what could have been a fading enterprise. It served as a launching pad for the likes of Fede Alvarez and Lee Cronin, playing in a gleefully ghoulish sandbox that could be enjoyed by those who love the display of gory carnage. “Evil Dead Burn” hands the reins to another emerging voice who chooses to indulge in the same qualities that have continually made these films engrossing, even if the inclination to attempt a layered backstory proves far less engaging.
The focus of this outing is on a seriously troubled family that is dealing with a tremendous loss. Will (George Pullar) has just passed away from a brutal car accident, one in which nefarious entities were most certainly involved. This has caused his family to gather for his funeral, though his parents have a suspicious eye cast upon his wife, Alice (Souheila Yacoub). Her unease stems from the years of abuse she suffered in their relationship, which does not match the rosier picture held by the family members, particularly her mother-in-law, Susan (Tandi Wright). While at the funeral home, Edgar (Erroll Shand) has an encounter with a spirit that slowly poisons his soul and turns him into a Deadite. Once they are all back at the house, accompanied by Will’s brother Joseph (Hunter Doohan), his girlfriend Thya (Luciane Buchanan) and the grandmother (Maude Davey), the evil begins to rear its head. These forces are looking for a weapon that the long-deceased grandfather came across in his research of an ancient cult, and the spirits are determined to unleash all hell in their pursuit to obtain it. Of course, a bloody trail of horror is left in their wake, and it eventually falls to Alice to conquer the darkness that is consuming this clan.
As the films have mostly become arenas for filmmakers to explore their imaginative creativity, French director Sébastien Vaniček certainly finds a way to relish in the scenery he is provided. There is a stylish flair he captures in his filmmaking, most evident in the rapid-fire editing, slick camerawork, and propulsive momentum. The pacing is so breakneck at times that it leaves little breathing room, as emotions can go from zero to sixty with very little ramping to establish a build. At the same time, his efforts revel in the violence this series has consistently flaunted, turning relatively normal characters into nightmarish creatures that torment any victim in their path. Vaniček knows how to directly hint at all the sharp objects that will be in play later, which only becomes an even more enjoyable payoff when implemented as a device to deliver a squeamish sensation. There’s one gag involving a pen that will elicit groans from those who can’t bear to see such horrors and giddy laughter from the sickos who enjoy such fodder. One wishes the dialogue from the Deadites were more discernible within the distorted sound mix. Still, most of the attention has been paid to memorable sequences that highlight the expected slaughter.
Another important note, recognized as well, is the humor, a feature that was more prominent in Raimi’s preferred tone and is present here. Some of it comes from overt comedic highlights, like the funeral that has to proceed amid the loud noise of nearby construction. Many moments are the result of the elderly grandmother who is stricken with dementia and has out-of-pocket things to say. She also has a slow-moving chair that climbs the stairs, which is put to good use as well. Comedy has always blended well with horror because laughter is the perfect response to being scared. It is the stress relief that can result from the action of feeling terrified, and it’s a common response once the tension has reached its climax. While this steers clear away from the more overt comedic stylings of “Army of Darkness” or even “Evil Dead Rise,” that self-knowing acknowledgment of the material’s sillier tendencies is still appreciated.
What’s less appreciated is the story that Vaniček and co-writer Florent Bernard have crafted. While no film in this series has even really been one for crafting the most intriguing characters, there is more of a foundation that’s being laid here. Now, the evil book is not just some malevolent piece of literature that happens to cross our unsuspecting protagonists’ paths. There is now lore introduced about its origins, as well as a more direct explanation for why these individuals are being tormented. While it doesn’t linger too long, it does invite a deeper connection to these characters that just can’t be formed due to their relative shallowness. It may give more color to a bloody kiss that two of them share, but not in a way that deepens any kind of emotional attachment. Nor does it allow for any mystery to be uncovered that holds much weight, either. The storytelling is still built on individual moments, but the narrative throughline is underwhelming. It sets up a sort of final boss meant to serve as the peak of terror, but it is severely undercut by excessive CGI that robs the finale of the necessary visceral impact. The attempt to give these characters more dimension only underscores their deficiencies even more.
The entire ensemble knows the assignment, and they all deliver exactly where it matters. No one is looking for grand pathos or nuanced catharsis here. The roles themselves are often painted with a broad brush, and when necessary, they live up to that standard. Yacoub is the designated Final Girl, carrying the most emotional baggage from the abuse she suffered that can’t really be communicated. It’s a fine turn, though her physicality is certainly the more impressive attribute. Doohan and Wright spend more time in the human form as opposed to Shand and Buchanan, and therefore have duties that mostly fall in line with being terrified and in peril. They accomplish those objectives well enough, with the stern disapproval of Wright’s motherly aura being more impressive than Doohan’s general state of dismay. Shand and Buchanan don’t really have moments to really shine in their devilish personalities, but still manage to be a striking screen presence whenever they arrive.
“Evil Dead Burn” is not the type of film that is set to convert anyone who has not already bought into this series. It is gruesome, bordering on sadistic, but with a twisted glamour that is typically compelling for those who enjoy such depraved endeavors. The uproarious direction, totally leaning into the ridiculous tone that runs as an undercurrent, is what makes the film captivating for those whose tastes are inclined toward such fare. Unfortunately, the bid to mine deeper emotions from these characters ends up short-changing the storytelling and dragging it into less effective territory. However, the spirit of “The Evil Dead” is very much infused here. It doesn’t offer much new to the formula, and what is added is of little value. However, it can still call itself a worthy entry and a mostly thrilling example for another filmmaker to deliver another round of scares.
