Azrael

Would have made a great short which seems to be the case for alot of these features these days. This film is massively padded out with dross that needs editing out. Found my eyes closing at a couple of moments during the film which is never a good sign, same was said for A Violent Nature. There's a reason no one has told the slasher story like that before and it's because it's a snooze fest.

This looks great on paper and like I said would make a great short but there is nothing in this feature that was new or unique. Mute cults... um sure, Valhalla Rising did this masterfully. Also I did not buy it. These people have supposed to be mute for a very long time yet they exhibit no real form of other communication. It all felt staged. A world not earned or lived in.

I think my biggest gripe is that this film lacks so much clarity. It presents a bunch of questions and answers none.

Some nice gory bits in it but that's about it.

Azrael starts with an intriguing premise: a post-apocalyptic setting where a woman, played by the talented Samara Weaving, is hunted by a cult. It seems like a horror film with potential, especially with Weaving, who's known for her solid roles in the genre. However, despite the promising setup, the movie stumbles in several areas.

The decision to have almost no dialogue is bold, reminiscent of films like A Quiet Place or Bird Box, but unlike those, Azrael fails to use this strategy to create the same level of tension or immersion. With only three lines spoken throughout the film, the narrative struggles to find clear direction, leaving many questions unanswered.

The biggest issue is the film's indecision about its genre. It tries to be a bit of everything: supernatural, slasher, psychological horror, and even a survival thriller. This mix of genres, rather than enriching the story, ends up diluting it, resulting in a film that lacks a clear path and fails to establish its own identity.

Still, there are a few positives worth noting. The chase scenes are well done and manage to build some adrenaline, though they fall short of reaching their full potential. The religious atmosphere in certain parts is also intriguing, but unfortunately, it's not explored as deeply as it could have been.

Samara Weaving, often associated with horror, delivers a decent performance, but it's far from memorable. Compared to her role in Ready or Not, which will soon have a sequel, Weaving feels underused in Azrael, as if the film doesn't give her the space to truly shine.

Overall, Azrael has good ideas, but it lacks the cohesion and depth needed to truly stand out. It's a film that entertains but doesn't leave a lasting impression, getting lost in its attempt to be everything at once.

In a world in which no one speaks, a devout female-led community 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 - but she'll stop at nothing to ensure her own survival. Azrael makes a savage bid for freedom as her escape accelerates towards a vicious, revenge-fueled showdown.

And what a showdown it is. Being hunted through the forest, captured, escaped, recaptured, re-escaped, captured again, Azrael is one unlucky woman the way she is hunted and captured over and over. However she thinks she has found the key to survival toward the end, but everything turns to gore filled carnage. And not a single word of dialogue the entire film. So the meaning of it depends on the actors acting ability, and our perception. What does the end mean? Well, your guess is as good as Azrael's... The acting isn't great, but the mood and the story are fabulous. It's well executed and paced well despite there being no dialogue and long shots of actors just staring at each other or into the distance. I really enjoyed it and gave it a solid 6 for gore entertainment.

In the aftermath of the Rapture, Azrael (Samara Weaving) and her lover Kenan (Nathan Stewart-Jarrett) are outcasts from a cult that have renounced the "sin of speech" by surgically removing their vocal chords. When the two are captured by the cult with Azrael sacrificed to the burned creatures that prowl the land she narrowly manages to escape and embarks on a quest of retribution against the cult.

Azrael comes to us from director E. L. Katz and writer Simon Barrett. The film came about as something personal for Barrett as per an interview by Katz with Comic Book Resources, Barrett came from a religiously oppressive upbringing and incorporated that with a dream he had that served as the basis for what would become Azrael. Uncompromisingly brutal and atmospheric, Azrael creates an engaging and immersive experience thanks to a strong lead and an effectively atmospheric world.

While Azrael covers well trodden ground of stories involving aftermath of the Rapture (such as the multitude of unimpressive Left Behind films), Azrael largely acts as a subversion of those films and is less about reaffirming faith with fear and more about creating a twisted world of faith gone wrong to the point it robs its followers (willing or unwilling) of their ability to speak leaving them in a cold unforgiving world without reason or argument. Being a dialogueless film, the actors have to rely more upon facial expressions, action, and suggestion to create character and build the world and they do so quite effectively with Samara Weaving particularly good as the titular Azrael. While the film is relatively small scale and features another visit to the all too familiar location of the woods with many films inspired by the likes of A Quiet Place (such as the recent and underwhelming Never Let Go) I felt it did a good enough job with its creation of the cult compound and the surrounding atmosphere to largely avoid the traps of some other similar films from this year. The movie has an absolutely fantastic ending that pays off the carnage in a memorably disturbing fashion and it made me think of the underrated Gareth Evans horror film Apsotle from 2018 and makes a great companion piece.

I really enjoyed Azrael. While it does cover familiar ground, it also creates a stylish and unique atmosphere and useless the increasingly common "no dialogue" gimmick to solid effect and creates a memorably brutal and engaging ride.

And it leaves a lot up to the imagination. These things do the film no favors. Nothing is explained and that is fine. I guess. But it also keeps the viewer at arm's length. How I am supposed to care about the lead when she is just in one after another of the same situation. Yeah, we get it: she's scrappy.

It was also hard to stay abreast of who was who without names, dialog, etc. I can't even tell you if there was an "us" or a "them".

The movie just seemed there. And it tried to justify its there-ness with the mostly non-verbal contrivance at its core. But while the silence in A Quiet Place has its reasons, I just don't get it here.