Watching Paddington in Peru, we all thought the same thing, “Emily Mortimer is wonderful, but we miss Sally Hawkins. Bring her back.” That segues us into today’s movie, which strangely has a few more parallels to Paddington. Once again, Hawkins plays a material figure who takes in those with nowhere else to go. Her character is more barbaric than any bear, however. Even at her most deranged, Hawkins brings the same enthusiastic energy you’d find in Happy-Go-Lucky. This makes it all the more jarring when her character resorts to desperate (not to mention depraved) measures.
Following the death of their father, half-siblings Andy (Billy Barratt) and Piper (Sora Wong) are sent to live with Hawkins’ Laura. Piper is legally blind, although she can make out shapes and colors. Unfortunately, the foster system fails to see Laura for what she really is. Andy immediately senses that something is off. Despite her quirky behavior and boundary issues, Andy tries to give Laura the benefit of the doubt. As Laura repeatedly sabotages Andy, though, it’s clear that she’s up to something. This is intensified by Laura’s obsession with Piper.
The biggest red flag is Laura’s son Oliver, played by Jonah Wren Phillips. While it’s no surprise that Hawkins is stellar, Phillips is the discovery. Thin, head shaven, mute, often walking around in the rain, and prone to self-harm, Oliver keeps us guessing whether he’s one of Laura’s victims or another embodiment of chaos. His scenes lean heavily into body horror with at least two that would even have David Cronenberg saying, “Yikes!” Just as they did with their debut Talk to Me, Danny and Michael Philippou emphasize practical effects that cut deep.
The film’s central theme of grief will also rip your heart out, even if the final destination is somewhat foreseeable. We learn early on that Laura had a blind daughter who tragically died. It’s evident that her interest in Piper has a devious connection to this loss, although everyone other than Andy is oblivious for much of the runtime. Although the audience can piece together where the story is going, the execution is confusing at times. Bring Her Back leaves several elements vague, which is usually admirable in psychological horror. This is one film that might’ve benefited from a little more explaining, however.
After only two features, many are already declaring the Philippous as modern masters of horror. I’m not ready to award them such a title yet. Compared to the works of Ari Aster (Hereditary, Midsommar), Bring Her Back and Talk to Me aren’t quite as unpredictable or intriguing to dissect. The Philippous might be on their way to Ari Aster territory, however. Whether working with newcomers like Sophie Wilde or seasoned stars like Hawkins, they bring out the best their casts have to offer. Both films are crawling in eerie atmosphere, getting under our skin in all the right ways. Their stories could dig a little deeper, but in terms of craft and vibes, the brothers are bringing it.