“儀式が、始まる──。”
父親を亡くしたアンディと目の不自由なパイパーの兄妹は、とても親切な里親ローラの元で暮らし始めることに。そこには言葉を話さない男の子オリヴァーが住んでいた。ローラの異様なまでの愛情にアンディは違和感を覚えながらも、新たな生活を始める。ある日を境にこの家で次々と起こる不穏な出来事、家の周りに点在する謎の円のモチーフ、そしてオリヴァーの存在──それらが全て繋がった時、隠されていたローラの“恐るべき願い”が明かされる──。
製作費: $15,000,000 (23億円)
興行収入: $39,410,222 (59億円)
推定収支: $24,410,222 (37億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
From Australian twin filmmakers Danny and Michael Philippou (Talk to Me), Bring Her Back follows brother and sister Andy (Billy Barratt) and Piper (Sora Wong). Piper is mostly blind (she can see shapes and colors) and Andy has taken care of her for as long as they can both remember. When Andy and Piper’s father dies suddenly, they are adopted by a woman named Laura (Sally Hawkins). Laura has a mute son named Oliver (Jonah Wren Phillips) and had a daughter who was also blind and is still grieving her death. What begins as an awkward transition during tragedy becomes an abhorrent struggle for survival as Andy and Piper eventually uncover what Laura has planned for them. Talk to Me was a riveting horror debut by the Philippou brothers/RackaRacka and had the benefit of being injected with the incredible concept of chasing the high that comes with being possessed. Bring Her Back is a bit more familiar as it deals with a woman attempting to bring her daughter back to life in the body of a similar vessel. Cinematographer Aaron McLiskey and sound effects editors Lachlan Harris and Lee Yee deserve a ton of credit for making certain elements of Bring Her Back look and feel like someone with impaired vision is experiencing them. Visually, the film often focuses on what’s taking place in the foreground while the background is blurry with just enough movement for the brain to piece together what’s occurring. When Piper and Andy are in Wendy’s (Sally-Anne Upton) office, the woman in charge of placing them in the foster care system, the first thing you see and hear are the bracelets on Wendy’s wrist as she types. In the sequence when Andy is driving Piper to Laura’s house for the first time the visor is down during a sunny day. Andy notices that Piper can’t see or feel the warm color of the day and puts the visor up, which sees an immediate change in Piper’s behavior and body language. Andy and Piper find their deceased father in the shower, which results in Andy having a traumatic response to showers throughout the rest of the film. During their father’s wake and every time Andy considers taking a shower, Andy has a panic attack. Andy breathes heavily and understandably looks shaken during these sequences, but it’s highlighted by the way the sounds of the world are muffled by his accelerating heartbeat. The concept of the film is that the living situation with Laura is meant to only be a temporary thing. In three months, Andy will be old enough to apply to be Piper’s guardian. Laura, who has slowly been figuring out a way to bring her daughter back this whole time seemingly waiting for a blind girl to end up in the local foster system, meets the siblings with mind games the minute they walk in the door. Like Talk to Me, Bring Her Back is jarring and relentless at times with unsettling moments going a step beyond what would be physically comfortable. Oliver’s moment in the kitchen with the knife is a solid example. The highlight of the film is Sally Hawkins's performance. Hawkins has never shied away from challenging films, but Bring Her Back is her first interaction with the genre and she delivers in every way imaginable. Laura is a nasty character with one goal in mind and Hawkins's performance blurs the line between pure terror and actual empathy for her. While Laura downright murders people in Bring Her Back and commits all these heinous acts, she is still a mother who has never gotten over losing the person she cared about the most in this world. And part of you still feels sorry for her by the end of the film. The juxtaposition of what Laura is presenting as a seemingly caring foster mother and the dark ritual she’s planning for Piper is somewhat disappointing. Knowing Laura’s intentions so early on in the film (it’s given away in the title and all of the marketing of the film) makes some of the slower moments in the film feel a bit longer than they should. How the film slowly reveals what’s going on with Oliver is a bit more satisfying. There’s a palpable tension early on where Laura seems like she could either be a gypsy-like character that dabbles in some sort of dark arts or just has a weird infatuation with the dead but cares about the well-being of Andy and Piper. Riding that tension a little bit longer where the film could have felt like it could have gone either way may have had a better payoff. It feels like modern horror films, especially the ones from this year, give a peek behind the curtain too soon and you’re left riding this varying wave of monotony. Bring Her Back is another mesmerizing effort from the Phillipou brothers with gnarly sequences that teeter on being fully gruesome. Sally Hawkins portrays a nurturing nightmare of a motherly figure to terrifying perfection.
Wasn't expecting such a great horrow show from Australia. It's quite gruesome. Well done.
Decent trauma horror. Chewing scene was great! Go ahead and put this ham on your face as you may need it to cover your eyes in some scenes.
When their father is found dead in the shower, seventeen year old “Andy” (Billy Barrett) wants to look after his blind step-sister “Piper” (Sora Wong) but he’s just too young. Rather than split them up, social services offer to send them both into the care of “Laura” (Sally Hawkins) who has recently lost a daughter of her own. She seems to take to the young girl, but is completely indifferent to her big brother and both siblings are perplexed by the presence of the mute “Oliver” (the scene-stealing Jonah Wren Phillips) who seems to inhabit a world all of his own. As the newcomers try to settle in, it becomes apparent that “Laura” has an agenda that might not synch up with either “Piper” or “Andy” and when she clearly starts to sabotage not just their relationship but also any chance he might have for guardianship, an ulterior motive starts to rear it’s brutally ugly head. This is a completely different type of horror movie from most I’ve seen, and that’s largely down to Hawkins. She exudes a potent combination of trustworthiness and coercive intimidation really quite compellingly. Her character got quite successfully under my finger nails as she played her manipulative game and unusually, I found myself caring about these two youngsters. It’s tensely directed, set amidst a remote farmhouse and plays nicely to assumptions that this woman has been endorsed by the authorities, so therefore she must be kosher for these kids still dealing with the grief of finding their dad on the bathroom floor. It also benefits from concluding in a largely unexpected fashion, and it’s safe to say that the underpinning psychology of this story of bereavement and desperation is quite a compelling watch. After about twenty minutes, try watching it with your eyes closed for a short while - it is quite scary.
After the explosive and inventive horror of TALK TO ME, my anticipation for Danny and Michael Philippou's follow-up was immense. I was prepared for intensity, but nothing quite readies you for BRING HER BACK, a film that perfectly defines the term "tough watch." This is a profoundly discomforting and disturbing experience, featuring some of the most visually shocking and traumatic scenes in recent memory. The true standout is the makeup and prosthetics department, whose gruesome work is so visceral it burrows under your skin, no matter how seasoned a horror viewer you might be. The Philippou brothers once again demonstrate their exceptional storytelling craft, employing a stark "show, don't tell" approach that trusts the audience's intelligence to piece together a layered narrative. While the underlying story is more straightforward than their debut, the masterful control of tone and pacing builds an almost unbearable tension, sustained by tremendous performances. Sally Hawkins is predictably brilliant, but it's the young cast — led by Sora Wong and Billy Barratt, and featuring a spectacularly creepy Jonah Wren Phillips — that carries the movie's heavy, dark heart. Where the film elevates itself from mere shock horror to something truly profound is in its brutal thematic exploration. This is a story about how unresolved grief can corrupt and metastasize, twisting a mother's love into a monstrous, obsessive force that perpetuates cycles of abuse. The supernatural elements serve as a dark, powerful allegory for the very real horrors of identity erasure and the vulnerability of foster children, used by adults to fill their own emotional voids. Andy, our voice of reason, anchors the narrative as he fights to protect his blind stepsister, Piper, from the chillingly manipulative Laura, a woman whose unholy grief drives her to commit unspeakable acts. It's a complex, harrowing dynamic that's almost perfectly executed, save for one bold decision regarding a character's fate that feels tacked on for shock value rather than narrative substance. Still, this is a minor issue in an otherwise remarkable work. An unforgettable and essential piece of modern horror, as thematically rich as it is visually terrifying. Rating: A-
