Halle Berry, a cabin and worse in the woods

A mother’s protective instinct proves deadly for earthly and demonic beings alike in Never let gothe latest from French genre veteran Alexandre Aja. Based on a screenplay co-written by Kevin Coughlin and Ryan Grassby, the film is about a young mother and her two sons living in a remote forest cabin built with love – and plenty of spiritual protection – by older relatives when they sensed an evil presence slowly approaching them. In a mix of survival, psychological and supernatural elements, Never let go is, in its entirety, a thrilling journey, a feat achieved through the outstanding performances of its core trio. Even though the film's mythology is never fully unraveled, Aja's build-up of tension effortlessly compensates for the odd narrative misstep.

Young twin brothers Samuel (Anthony B. Jenkins) and Nolan (Percy Daggs IV) have only ever explored their rustic, hand-carved house and the lush vegetation that immediately surrounds it. They haven't even had the luxury of roaming around in the wilderness, as their mom (Halle Berry) requires that they all tie themselves to ropes that remain attached to the property whenever they want to leave the porch. Mom's parents have filled the house with a divine aura that keeps malevolent spirits from entering, but once you lose contact with the property, you're immediately vulnerable to possession, so the rope provides a sacred loophole.

During one of their routine expeditions into the woods in search of food, Samuel stumbles and is accidentally released from the rope's grip. Momma comes to the rescue just in time, reattaching her son to the rope as a bloody, forked creature approaches the boy. Interestingly, only she can see these monsters, a fact that makes Nolan increasingly suspicious of his mother's fervent belief in the metaphysical. In fact, she subjects the boys to strict (and certainly unpleasant) rituals that range from incessant chanting of house-related mantras to locking them in the basement so they can reflect on the mystical privileges the home affords them.

But the family isn't just battling demonic bloodlust. With winter comes a devastating famine. Game is scarce, the family's greenhouse is becoming barren, and their meager food supplies are dwindling in rapid succession. Samuel, still frail from the fall, is particularly emaciated; his body and mental faculties are clearly beginning to fail. In a desperate last-ditch effort to feed her family, Momma suggests a forbidden source for their next meal. Enraged, Nolan finally defies his mother's control, literally unleashing all hell.

Berry is absolutely captivating in Never let gowhich provides a nuanced portrait of a woman whose caring nature has been eclipsed by apocalyptic adversity. She claims that the entities so desperate to decimate her family have already ravaged the rest of the world, meaning they are likely the last humans left untouched by this baleful plague. When audiences glimpse these often invisible entities through Momma's eyes, they always take on the appearance of past family members, typically Momma's own mother (Kathryn Kirkpatrick) and the boys' father (William Catlett), lending some credence to Nolan's suspicions regarding his mother's declining sanity. Never let go never really delves into the specific circumstances that threaten the family's well-being (is it parental negligence, world-destroying evil, or some insidious mix of both?). This decision was made almost entirely with the intention of provoking a multitude of “hot takes” during the credits.

Jenkins and Daggs are impressive stars in their own right and the film focuses primarily on the development of their characters. Never let goThe production design is also perfectly tailored to their worldview, with shabby, childish decorations adorning the house using the few creative means available to the children. Production designer Jeremy Stanbridge creates a world that incorporates elements of Peter Pan with Dance of the Devilswhich brings both whimsy and malice to the film's forest setting. Equally captivating is ROB's synthesizer-heavy score, which is remarkably allegedly to have been completed in just a few days. With a wealth of genre and Francophone gems under his belt (he has also worked with Rebecca Zlotowski and Coralie Fargeat), the composer is perfectly attuned to the spooky but never intrusive demands of his musical style.

Sadly, the end of Never let go leaves many stones unturned, but that does not detract from the success of the horrors conjured up by Aja behind the camera. Even Aja's most famous film, the New French Extremity entry High voltagefalls apart completely during the climax; this film, on the other hand, only leaves the audience frustrated and wanting to know more about the world we have been immersed in for 100 minutes. Since current horror offerings are disproportionately disappointing remakes And lukewarm comment Given our modern lifestyle, it's refreshing to come across genre fare that's both original and entertaining.

Director: Alexandre Aja
Authors: Kevin Coughlin and Ryan Grassby
Stars: Halle Berry, Percy Daggs IV, Anthony B. Jenkins
Release date: 20 September 2024