Review: A mother warns of terrors in ‘Never Let Go,’ but monsters are sometimes closer to home

As a seasoned film enthusiast who has witnessed a plethora of psychological thrillers and horror flicks throughout my lifetime, I must confess that “Never Let Go” is a unique blend of genres that left me both intrigued and disheartened. While the haunting atmosphere and rich production design certainly caught my eye, the excessive exposition and inconsistent visual rules made it a challenging watch.

“Never Let Go” – A film directed by Alexandre Aja is marketed as a psychological thriller but appears to be a ghost story from the trailer. Halle Berry plays a distressed mother who lives an apparently post-apocalyptic life in the woods with her two young sons. She confronts unknown entities, maintaining the family’s security by being connected to their dilapidated wooden cabin using ropes in what could be either a superstitious or supernatural practice.

Unlike typical horror movies, “Never Let Go” isn’t your ordinary spooky film. Instead, it stands out as one of the bleakest American genre films in recent times, which might not be so unexpected given its French director who has roots in the New French Extremity and was once categorized as part of the “Splat Pack” of emerging horror directors in the early 2000s. Known for his stylishly violent movies like “High Tension,” and campy creature features such as “Crawl” and “Piranha 3D,” Aja presents a shift towards more serious storytelling with “Never Let Go.

It’s not hard to imagine that Momma Berry’s “evil” in “Never Let Go” might just be a figment of her imagination (or could it be something more?). As the story unfolds, young Nolan (Percy Daggs IV) begins to doubt his mother’s practices and rules: the ropes, their blessings, and the time they spend confined in a small cellar praying for “love” and “evil.

In this scenario, only Momma claims to perceive the spectral figures of her deceased mother and spouse, who appear like zombies. Her sons must trust that she’s safeguarding them, despite their dwindling resources. Since it appears so evident what is truly transpiring, all suspense is removed from this narrative, leaving us with a grim survival tale where a mother, suffering from psychosis, seems to mistreat her emaciated children.

The script, penned by K.C. Coughlin and Ryan Grassby, tends to be overly verbose. It starts off featuring a voiceover from the character Nolan, which echoes “Beasts of the Southern Wild,” a movie about young Black children in the wilderness. However, unlike its counterpart that used magical realism to conquer hardships, this narration continues throughout, providing insights into how Nolan and his brother Samuel have been educated by their mother regarding their existence relative to the house and the absence of an external world for them. Information is delivered through speeches, conversations, and chapter titles that unnecessarily highlight obvious themes, while visual storytelling takes a backseat.

The ambiance is hauntingly atmospheric, largely due to meticulous set and costume construction that makes the house appear as if it’s been stuck in a bygone era, enveloped by a moist, mossy woodland. As the narrative delves into themes of seclusion and deceitful family dynamics, it subtly resembles a blend between “Dogtooth” and “The Village,” but with an added layer of intense distress.

In the chilling narrative I followed, sound often sets the stage for those heart-pounding jolts, yet swiftly, I found myself questioning the reliability of what I was hearing. Aja masterfully crafts atmosphere and tension, but the eerie cinematography leaves me unsettled, which is unexpected in a story so meticulously defined about this family’s routines (the ropes, the prayers, the spiritual rituals). However, when it comes to the horrifying visions, things become blurry regarding who experiences what and the reasoning behind it.

Indeed, the visual symbolism in this piece is profoundly metaphorical, inviting us to momentarily set aside logical reasoning as we immerse ourselves in the narrative. Despite some loose ends, Daggs delivers an impressive, nuanced portrayal for his age, while Jenkins skillfully balances heart-wrenching vulnerability with a palpable sense of foreboding.

Despite it all, “Never Let Go” often proves difficult to endure throughout its length. The distressing scenes of innocents being mistreated or threatened are hard to stomach, and there are several sequences in the movie that are almost unbearable to watch due to their misery. Unfortunately, these scenes lack any meaningful purpose or reward, leaving them seeming senseless.

It’s daring to witness an American movie display such uncompromising darkness concerning children and animals. This film seems reminiscent of somber, bleak Eastern European productions rather than the usual Halloween-themed chills. For some viewers, this could be an intriguing twist; however, for others, it might come as a startling and unpleasant surprise.

Walsh is a Tribune News Service film critic.

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2024-09-20 20:31