Danny and Michael Philippou have quickly established themselves as brilliant writers/directors. Their directorial debut, Talk to Me, was a financial and critical success. That said, it’s the twin brothers’ sophomore film that truly showcases their collective talent. With its intriguing story, strong cinematography, and impeccable sound design – all bolstered by a standout performance from Sally Hawkins – the incredibly disturbing, yet equally captivating Bring Her Back is not only a solid follow up to Talk to Me but also an outstanding horror film in its own right.
Bring Her Back wastes no time in creating an unsettling atmosphere. Early scenes depict grainy VHS recordings of cultish behavior. Seemingly safe places are blanketed in somber lighting, producing creepy shadows and threatening silhouettes, and lingering shots of a lifeless, naked body sours any sense of normalcy. So, by the time Andy (Billy Barratt) and his visually impaired sister Piper (Sora Wong) are placed in foster care after the death of their father, we’ve already reached a certain level of discomfort; the introduction of their strange caretaker Laura (Sally Hawkins) is par the course, her large creepy house notwithstanding.
Like its predecessor, Bring Her Back offers an examination of the grieving process through a supernatural lens. While Talk to Me focused on the negative effects of escapism via an addictive vice, this film illustrates the ills associated with obsessive bargaining. A notion implying that if something could be done to save a loved one, then it should be done even at the expense of others. This is initially shown through Andy and Piper’s new living arrangement, where an eerie vibe permeates every waking moment. A lack of privacy, chained doors, and white paint outlining the property all act as red flags. It’s Hawkins’ amazing portrayal of the manipulative Laura, however, that turns any underlying anxiety into palpable tension.
Laura’s doting foster mother routine with Piper isn’t as wholesome as it seems. At times, it comes off as overbearing. And considering Laura’s infatuation mostly stems from the fact that Piper reminds her of her deceased daughter, her welcoming demeanor is laced with sinister undertones. Things are noticeably different with Andy though. The reality that something is wrong with their relationship is accentuated by Hawkins’ intimidating posture and slick line delivery when playing opposite Barratt. Her ability to overtly express ill intent while maintaining her stance as a caring adult is as alarming as it is profound.
Even moments of levity are tainted by the latent, yet ever-present sense of danger that’s derived from Hawkins’ convincing performance. Barratt and Wong’s portrayal of distraught siblings play into this feeling as well. While they both have a hard time dealing with the passing of their father, it’s Andy that’s hit the hardest. Echoing some childhood trauma, Andy’s inability to fully process what happened or to trust the adults around him is evident in Barratt’s apprehensive attitude, so much so that his bewildered responses to emotionally distressing events (brought about by an authority figure) prove relatable. The same can be said of Wong. As an actress who has a visual impairment, she’s able to give credence to this volatile living situation; the fear she exudes as Piper struggles to piece together what’s happening around her very believable.
Additionally, the strong cinematography and powerful sound design elevates the cast’s performances. This is certainly the case when it comes to Jonah Wren Phillips’ depiction of a possessed boy named Oliver. His haunting gaze is magnified by focused lighting and a muted color palette that emphasizes red hues. While the ominous music manages to unnerve the viewer long before he becomes violent, it is what’s heard during those moments that really sells the horror – one of Bring Her Back’s most disturbing scenes is achieved by way of practical effects and the distinct sound of torn flesh.
The Philippou brothers are known for putting an emphasis on a slow, deliberate manifestation of fear over rampant jump scares. Although a shocking act of violence or some wince-inducing self-mutilation/body horror will often result in quickened heartbeats (and a potentially upset stomach), it’s the overall sense of dread that proves the most frightening. It’s an approach that allows viewers to really examine each character’s actions. The crux of the issues shown are much deeper than the demonically possessed vehicle that drives part of the story.
Bring Her Back has set the bar high for horror in 2025. It somehow presents another unique take on possession by way of a frightening, yet enthralling tale of shared grief. The film sports great sound design, strong cinematography and a wonderful cast that’s anchored by an amazing showing from Sally Hawkins. Essentially, Bring Her Back proves that Talk to Me wasn’t a fluke, but rather a testament to the Philippou brothers’ prowess as filmmakers.
Review screener provided.
REVIEW SCORE: 5/5
