The idea of the multiverse has become widely associated with uninspired writing, largely due to its use in many Marvel Studios films. It’s often criticized as an easy way for writers to avoid challenges, and for studios to bring back popular characters, repeat storylines, and endlessly reuse existing ideas. As a result, many viewers are skeptical of films that involve multiple universes – and rightfully so (if a multiverse story means Robert Downey Jr. is playing Doctor Doom, be prepared for a backlash!). However, the new film Redux Redux, from brothers Kevin and Matthew McManus, offers a surprisingly fresh take on this overused concept. By telling the story of a mother who travels between universes to repeatedly kill her daughter’s murderer, the film uses the multiverse as a powerful metaphor for the endless, cyclical nature of grief.
The McManus brothers, known for their unsettling 2021 sci-fi film The Block Island Sound, expertly explore how people often choose anger over dealing with grief, finding a temporary sense of control in it. However, they show that anger can’t truly heal sorrow. This is powerfully illustrated by Irene (Michaela McManus), who has spent years traveling through alternate realities in a unique machine, relentlessly hunting the man who kidnapped and killed her daughter. After repeating this cycle hundreds of times, she knows her target, Neville (Jeremy Holm), works at a diner and gets paid on Thursdays. While details change slightly in each reality, the outcome is always the same: Irene kills Neville in some way. But killing him no longer brings Irene relief. It’s become the sole focus of her existence, leaving her emotionally numb and unfulfilled.
The story wisely avoids getting bogged down in explaining how dimension jumping works, or any problems it might create, because those details aren’t essential to the plot. We don’t learn where Irene originally comes from, only that her universe has technology for traveling between dimensions. Her elaborate, steam-powered coffin provides opportunities for exciting action sequences that don’t require a huge budget, and these scenes typically end with Irene escaping to a new universe.
While Redux Redux offers enough action to please science fiction fans, the film primarily centers on Irene’s deep sadness. Each alternate universe allows her to confront and defeat Neville, while also giving her the hope that her daughter might still be alive in one of them. Just as the story risks becoming repetitive, Irene discovers a new universe and saves 15-year-old Mia (played by the energetic Stella Marcus) from Neville, which sets the plot on a somewhat predictable, yet engaging, course.
The latest installment in the series relies more on plot than previous entries, and the story would have been even stronger if Irene had been more open about her emotions. However, she’s largely defined by her singular mission – both for herself and how others see her – so she allows Mia to join her on a trip to the desert to confront Neville. The directors, known for their work on American Vandal and Cobra Kai, give Mia some compelling new dimensions, though her persistent pleas to accompany Irene sometimes feel like they take up too much screen time. Mia’s history of moving between six foster homes, each with its own unique hardships, creates a fascinating connection with Irene’s character. Mia also plays a key part in a gripping scene where Irene encounters someone selling illegal parts for machines that travel between universes.
Like the films Primer and Safety Not Guaranteed, Redux Redux achieves a lot despite having a limited budget, thanks to the filmmakers’ cleverness and imagination. The directors clearly have the talent to tackle larger projects, and it’s hoped their sister will continue to collaborate with them. Michaela McManus, who also starred in The Block Island Sound, delivers a strong performance as a woman who rediscovers her maternal side through her connection with Mia, reminiscent of Linda Hamilton’s iconic roles.
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While the movie’s title isn’t great and the ending feels a bit drawn out with a talkative villain and an overused plot device, you’re already so caught up in wanting the main character, Irene, to find peace. Like all good science fiction, Redux Redux uses futuristic ideas to explore relatable, human themes. The film understands that revenge won’t heal Irene’s pain – true healing comes from accepting loss and finding the strength to move forward. It tackles this idea in a fresh and interesting way.
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2026-02-17 20:05