Azrael movie review by movie16
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Azrael movie review
E.L. Katz’s Azrael plunges viewers into a muted horror landscape where silence is survival, but unfortunately, the film struggles to maintain tension amidst its tepid execution. The story revolves around Azrael (Samara Weaving) and her partner Kenon (Nathan Stewart-Jarrett), two characters who communicate solely through glances and gestures. Their idyllic life in a serene forest is shattered when they are captured by a mysterious group of silent humans, leading Azrael on a frantic quest for survival against unseen terrors that thrive on noise and movement.
Weaving, known for her breakout role in Ready or Not, finds herself in a familiar "me against the world" scenario, yet the script by Simon Barrett gives her little beyond fear and struggle to convey. The film quickly devolves into a series of chase sequences with minimal context, leaving viewers to piece together the plot from fragmented clues. Kenon’s character, while initially promising, becomes an emotional footnote once he exits the screen, reducing his presence to mere bait for Azrael’s survival arc.
The film leans heavily into religious motifs, particularly within the encampment led by the enigmatic Miriam (Vic Carmen Sonne). As a cult figure draped in white, Miriam’s presence elevates her status among the grungy, earth-toned survivors. However, the motivations behind her obsession with Azrael remain ambiguous. Is she a virgin sacrifice, or is there a more personal threat that Miriam perceives? Such unanswered questions muddle the narrative, leaving viewers frustrated by the lack of clarity.
Katz attempts to pay homage to horror classics through visual references, such as title sequences reminiscent of The Shining and imagery echoing Rosemary’s Baby. However, these nods fail to create a cohesive or suspenseful experience, often feeling like mere pastiche rather than inspiration. Unlike A Quiet Place, which masterfully builds tension through its silence, Azrael falters in its execution, resulting in a lack of engagement with the viewer.
Cinematographer Mart Taniel captures some visually stunning moments, like sunlight filtering through trees and eerie car headlights illuminating the darkness. Yet these moments are fleeting and do little to offset the film’s predictable pacing and lack of haunting atmosphere. The demonic creatures, though grotesque in appearance, suffer from inconsistent logic; their behavior varies from lumbering zombies to swift predators, undermining any fear they might instill.
Ultimately, Azrael lacks the energy or chill factor to terrify its audience. The odd blend of religion and horror, instead of provoking thought or fear, leads to a confusing experience reminiscent of a half-hearted haunted house. The text interludes attempting to connect scenes only serve to highlight the disjointed narrative, making it laborious for viewers to stay engaged. While the premise holds potential, Azrael fails to distinguish itself in a saturated genre, leaving viewers with little more than a vague sense of unease rather than genuine horror.
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