‘Bring him back’ Movie Review: The Sadistic Triumph of the Philippus’ New Nokius Duition

Horror films live or die on the bad decisions of their characters. The Philipo Brothers consider it the best. In his terrible beginning, Talk to meThe teenagers considered a cursed hand as a party trick. It was young Bravo in its pure, stupid form. His follow -up, Bring her backBad decisions are also built, but it was made by the people made by the people who should be better known, which is unbearable to see better. Evil, even.

The film opens with a shock of granular VHS footage, depicting some types of snuff tape-senses rituals, which is happening with the swinging of the body, of which encounters and children’s voices shout with gaiety or terror, which is difficult to tell. The footage rejuvenates throughout the film like a poor memory, and Philippus allowed it to be unresolved.

Andy (Billy Bairat), seventeen and still carrying marks of his father’s misconduct, one afternoon comes home with his step sister Piper (Sora Wong), who is legally blind, to find his father dead in the shower. Just a few months away with adulthood, they are firm to become the patron of Andy Piper. Meanwhile, child services look at only two weak minors, and hand them a scary, spinach mother, Laura (Sally Hawkins).

We know that Hawkins is better than the heat of his uniqueness, such as in a soft cleaner Water size And Twinkle Mrs. Brown in PedingtonHere, she exits that heat from inside. Laura smiled the piper with affection and said that she and her dead daughter are “one”, while at every turn, Andy was underestimated. She spikes children with boose, staging manic midnight trauma-dump dance parties, and humiliates Andy with ways designed to destroy her own spirit. But cruelty is not grand or gothic. It is intimate and domestic, and is therefore more painful.

Still ‘Bring him back’. Photo Credit: A24

Bairat plays Andy in an irritable form, assuring that he could save his sister if he could escape for the next three months. Wong, in his first role, is a natural, vigilant peace that acquires the grandeur of the piper, but its moments, all, are more impressive. And although his bond is the delicate core of the film, it is Hawkins which dominates the screen. She plays Laura as a demon in hiding, but also clarifies her demon that we can revolt.

But the revelation of the Joenah Wrain Philips film, whose creeping appearance of the Mute Foster Child Oliver is colonized in every corner. With his empty sculp, the eye of injury, and almost angelic Androini, the Philips gives one of the rare baby performance that immediately feels captured in the horror canon. This disturbing brand of non-cooperation recalls Linda Blair or Harvey Stephens and secures Philips as a scary all-timemere, before his voice is broken.

The Philippus uses the cavaras room of the house and has a dry swimming pool like a psychological mesh, such as spaces designed to precious children. The rain occurs in everything, from tiles, from furniture, in the air; As long as the entire film feels the waterfall. Needle drops and camera spin have moved since their attractive visual language Talk to meNow attention is on the sticky texture of blood, drool, urination, rainwater viscosity.

What saves Bring her back The collapse under its cruelty is Philippus’ deformed loyalty for the physical. It is a masterclass in staging the body’s resentment. Blood is a sticky, dirt is dirt, while lips and urine stains are glued to the fabric. Sound designs double with bone opposition to these corporal violations, worrying in their own way through knives meat, and teeth explode like porcelain. These effects do nothing for everything for the clever grief of torture porn and the climax of J-Herr. They infect you, creep under your skin with the intention of staying there.

What does it distinguish Bring her back It is from a very contemporary horror how Philippus refused to outsource this sick, twisted evil. The style is fluent in metaphor, and on the contrary, Philippus gives us place in thick. The manipulation of the Andy and Piper’s Laura is not a stand-in for the trauma, but the trauma itself, has come to the real time. These children are devoid of any convenient convenience point or irony buffer, so the complexity of seeing them navigates the terrible bond of someone’s needs that bother them, feel weak.

Still ‘Bring him back’. Photo Credit: A24

The film is deliberately messed up. Suspected mythology of chalk circle, secret VHS footage, and hair locks of hair never adds satisfactorily as it was done in it. Weaponearlier this month. But the consistency is not the goal here, because the Philippus is pursuing a series of sensations-as is the sick fear of having a child in the wrong house, or anxiety-motivation uncertainty is uncertainty whether an adult has affection protection or prediction.

Bring her back Finally operated by the performance of Hawkins, recently in one of the great villains of horror. Laura feels that kindness was a mask in itself that could suffocate a child, and it is terrible how human it is human. The film focuses on the fundamental fear that the children are defenseless against those assigned to their care, even (and often, especially) to protect them in the security trap.

Philipau Brothers cannot be the new kings of horror yet, but with Bring her back They have at least proved themselves to their most tragic purposers of the decade – we will not face us by pushing us in another nightmare, but will not close the door behind us.

Bring her back is running in theaters

Published – August 22, 2025 05:03 pm IST