By Matthew Moorcroft

Strong Recommendation

• Directed by Sébastien Vaniček
• Starring Souheila Yacoub, Tandi Wright, Hunter Doohan, Eroll Shand
• R

Pushing boundaries of good taste has always been the modus operandi of the Evil Dead series, one of horror’s most consistently entertaining and well designed machines. Even as far back as the original film, which was labeled as a “video nasty” in the days of the moral panic behind films like it, there has been the general expectation that an Evil Dead film is going to push boundaries or the limits of what an audience expects to see. This comes in the form of it’s comedic edge, which is always as pitch black as they come, or in how just how gnarly and gross it can get in terms of gore and guts.

The latest in the line of brand new, auteur led Evil Dead films, Evil Dead Burn is a departure from the norm in that it doesn’t just push boundaries, it just assumes there are none. Taking it’s cues more from director Sébastien Vaniček’s home country of France and it’s unique brand of “French Extremity” horror, Evil Dead Burn is a bleak, purposefully unpleasant film that puts it’s foot on the gas and doesn’t let up until the credits begin to roll. Many audience members will likely tap out in the midst of a graphic animal stabbing, and those who stick out past that will find that’s just the tip of the iceberg of the horrors that the house of the Price’s are currently experiencing.

And what horrors they are! From the mental toll of spousal abuse that plagues our lead character to the secrets that the others hide from each other, Evil Dead Burn makes a case that sometimes the call is from inside of the house itself and it makes you wonder how the Deadites weren’t able to get in earlier. And while Burn avoids the usual “read from the book” setup in favor of a slightly convoluted tie in from prior movies, it does means Burn is thankfully uninterested in just repeating beats from prior films. Instead, it’s far more it’s own beast, more content with just letting itself give new ideas to otherwise familiar concepts and setpieces.

Helps that Vaniček’s direction is remarkable across the board. The washed out color grading, which could have been a death sentence here, only helps once the titular flames begin to burn everything and the deep reds of the night become the main backdrop for the slaughter. Never content in leaving the camera in one place either, there is a flurry of dynamic camerawork that never, ever lets up, including a mirror transition that is one of the year’s most inspired jump cuts and a one take sequence that was used for the trailer that’s even more insane in context.

It’s interesting talking about Evil Dead Burn from the perspective of it being kind of just nutty and crazy when there is also some meat to the bone, even if it’s probably the film at it’s most uneven. It’s certainly not for the lack of trying, as while Evil Dead Rise‘s sturdiness and “back to basics” approach was good at reigniting audience attention, there is something to be said about Burn‘s more allegorical take on the Deadites, the Book of the Dead, and it’s surrounding mythology. Here, the demons target those who already have evil in their hearts, ones that let an abusive relationship continue without ever taking into consideration the one that it was hurting. It’s a clunky metaphor, but it’s one that gives Souheila Yacoub plenty to chew on in yet another strong lead performance for a series that has had a flurry of strong protagonists up to this point.

In fact, the cast is so strong that it actually somewhat overcomes any small issues the script might have, as the cast is able to get as much meat as they can from the setup. Eroll Shand in particular, who has a demonic presence even before he transforms, leads the ensemble supporting players with a physicality to his performance that’s necessary to sell the turn while also still exuding a level of charisma that many of the Deadites still need to have. Much of this is shown in a bravura dinner scene that highlights of the best of each performer while also ratcheting up the tension to the point of it being an endurance test.

And if Evil Dead is to survive well into the 2020s and beyond like it seemingly wants to, it will have to evolve. And as an evolution of the formula, Burn is an ambitious attempt, one that stands on the same level as it’s direct predecessor even if it isn’t as sturdy. It’s a gruesome, nasty time at the movies that will likely only really appeal to the real sickos in the audience, but those willing to fully stomach it it’s a wonderfully evil time at the movies that, like the best of the series, pushes as many buttons as possible in a good way.