"CATCH YOU FUCKERS AT A BAD TIME?"

Bring Her Back

BRING HER BACK is this year’s release from Danny and Michael Philippou, the Australian twins “known for their horror comedy YouTube videos” according to Wikipedia, but I know them for the 2023 ghost movie TALK TO ME, which I enjoyed. The brothers both direct while Danny writes with Bill Hinzman (no, not the cemetery zombie from NIGHT OF THE LIVING DEAD – I looked it up, and he died in 2012). This is another impressive Philippou Brothers joint, more serious than the last, not much humor this time, but just the right level of bleakness for me.

It’s about a half brother and sister who are having a rough go of it. Piper (newcomer Sora Wong) is blind, but tries to go without her cane to fit in at school, which doesn’t work. Andy (Billy Barratt, “Street urchin,” MARY POPPINS RETURNS) is older, seems to have been a mess since the death of their mother, but he’s very loving and protective of Piper. Then they come home and find their dad dead in the shower. This may be a dumb thing to note but I think it’s important that he’s just laying there with his junk visible, because for all our lives most movies have lived in a world designed to avoid the sight of dicks. Seeing one here adds a blunt reality that makes the death more matter of fact, and more shocking.

Social services want to separate the orphan half-siblings, but their pleading earns them a special arrangement: they can can go to the same place if Andy can be good for three months until he turns 18 and applies to become Piper’s guardian. They meet the foster mother, Laura (Sally Hawkins, I FUCKED A FISH MAN I STOLE FROM WORK), an eccentric goof who seems friendly and excited about Piper while only half-heartedly acknowledging Andy’s presence and blocking his head out of a selfie they take together.

Andy is impressed that Laura seems to have prepped the house for Piper’s safety, but she says it was already like that because she had a blind daughter who died. Did I mention this is a horror movie? I feel like that “you remind me of my daughter who recently died” detail might turn out to be significant. Just a hunch.

Then they find out they have a new brother. Oliver (Jonah Wren Phillips) is a weird little dude who doesn’t speak, hangs out in the empty pool and manhandles the cat like he’s gonna eat it. Laura acts very strange about the whole situation, and I think keeps him in a storage shed?Which I don’t think is kosher. He reminds me of the kid in SPEAK NO EVIL. Not a good sign. Other bad signs: at the funeral for their dad, Laura steals a lock of hair and also pressures Andy to kiss the corpse on the lips.

Yeah, this is one creepy-ass kid…

…but the movie lives or dies (in my opinion lives) on the performance of Hawkins as this very messy, layered weirdo character. She’s a complex ball of quirky qualities that can be kinda cute but we gotta assume are a front or an unrepresentative side of a dangerous person. There’s definitely some Annie Wilkes in her. An interesting scene is early on when she bitterly reveals that she’s seen some of Andy’s texts joking around with his girlfriend about her. She has flagrantly violated his privacy but also he didn’t mean it that way and seems to feel bad about it. The real discomfort is when he tries to grab his phone back from her, there’s a bit of a struggle and though he stops himself it’s clear that he’s much bigger than her and she looks scared of him. I couldn’t help but feel a little bad for her, but also you wonder how much she wants something like this as a way to get rid of him.

This is a supernatural movie – there’s a backstory about a cult, an attempt at resurrection (apparently somebody never saw PET SEMATARY), salt lines that can’t be crossed, and some imaginatively disturbing imagery. (IMAGINATIVELY DISTURBING IMAGERY SPOILER: That’s messed up when Oliver starts munching on a knife, but I especially love when he chews on the counter. Takes a bite right out of it.) I’m glad it goes there but for me it works not as much due to any type of spookablastery as on the strength of these very grounded and human characters. In particular (SPOILER) there’s a part where Andy convinces their social worker Wendy (Sally-Anne Upton, THE VERY EXCELLENT MR. DUNDEE) to come see what’s going on at the house, but she’s known Laura for years and seems inclined to believe her… then Laura falls apart anyway, basically gives up the whole game trying to appeal to Wendy to understand. That’s when I realized yes, she’s unhinged, but mostly because losing her kid broke her. There’s nothing to heal that wound, but she’ll do anything to try. She’s gone kid simple.

(I’m sure she would’ve done the same for Paddington had he died and had Emily Mortimer not taken over her character in part IN PERU.)

So yes, BRING HER BACK is release by A24 and is modern horror movie number four thousand sixty seven that’s about grief. Both factions are dealing with it, but only one does it using demons and murders, which is unethical. Everybody’s sad and then everything goes ape shit. I liked this one. Thank you Australia.

This entry was posted on Tuesday, October 21st, 2025 at 7:19 am and is filed under Reviews, Horror. You can follow any responses to this entry through the RSS 2.0 feed. You can skip to the end and leave a response. Pinging is currently not allowed.

12 Responses to “Bring Her Back”

  1. This is one of those rare horror movies that both made me cry and scared me at the same time. Dark Water is another one that did that.

  2. Also 2025 had way too many movies about child trauma that I don’t need any more kids in peril movies for a while.

  3. I watched this a while back and believe it or not, my initial thought afterwards was “I’d love Vern’s take on this one”. Glad to see you decided to share your thoughts on it.

  4. I was not interested in it, indeed for reasons of “So I guess will be about grief and trauma and trying so hard to be classy and eLeVaTeD that it will have only three minutes of actual horror while everybody is said for the rest of the runtime”, but then I heard that it received an 18 rating over here. And normally these “metaphors instead of monsters” horror flicks get away with lower ratings.

    So it’s now at least on my “I will check it out one day” list, since it appears that they won’t cop out on the cool shit.

  5. For me, this was the most uncomfortable horror movie since HEREDITARY. It’s not as fucked-up as that one, but it had ma squirming in my seat. It starts as that cringey social awkwardness I hate in both movies and real life, but you know that’s just a cover for the messed-up stuff Hawkins is bound to get around to. Then it crawls deeper and deeper into the weird and supernatural. But I am way more comfortable with a scary child eating furniture than I am with what happens at the funeral, or how she manipulates events to play the victim.

    The kids are really good, and their relationship feels real and lived-in. Sora Wong is great considering she had no real acting experience. Hawkins is stellar as usual. The kid that plays Ollie is otherworldly, the second terrifying demon child the Phillipous have subjected me to. What is in the water down under? (Oh, right, it’s spiders.)

    Not sure I believed the ending. Honestly expected it to go to even darker places.

  6. Bill – “What is in the water down under? (Oh, right, it’s spiders.)” startled a literal lol out of me.

  7. There’s been other horror movies I enjoyed more this year, but put me against the wall and I’d say this is the best of a great crop.
    Beautifully shot, beautifully acted, and the script is pretty impressive too; I loved the way it lays down a ton of details that help explain the more mysterious elements without beating you over the head with them; How they leave the videotape unexplained, for example, while still leaving vague breadcrumbs that make it simple to put together where it comes from and how Laura learnt of it.

    As for kids in peril/getting offed or harmed graphically, it definitely seems to be a theme – the new V/H/S (which is painfully uneven – more so than usual) even devotes a whole segment to that… it makes for some really uncomfortable viewing.

  8. I did enjoy this, though not as much as Talk to the Hand mainly because I don’t enjoy characters in pretty bad situations then getting put into even worse situations because even once they overcome the worst, they’re still stuck with the pretty bad. Not that I need films to have happy endings, but this was a tad too bleak for my aging tastes.

  9. SOME SPOILERS

    Everything I read told me that this movie was all wrong for me, but I watched it anyway, and it was all wrong for me. I was not edified, challenged, or enlightened by the way this film falls over itself to portray one horrific, heartbreaking episode after another of children being failed, abandoned, traumatized, manipulated, terrorized, violated, mangled, and disfigured. I think HEREDITARY was enough of that, and I think it had a lot more going on in general than this one.

    Everyone does a wonderful job here, but I think the film is not only a downer and an exercise in gratuitious child torture — it’s not particularly imaginative or compelling as a work of drama or horror. Also, I think it would have worked better if Sally Hawkins’s character was less of an overtly sketchy and manipulative oddball from the outset with the way she’s treating Andy. For me, this undermines the quasi-sympathetic “broken” woman angle, because she goes well above and beyond the call of duty in the eccentric cruelty she musters at various points. This brings her closer to pure villain for me, in spite of whatever sympathy I have for what happened to her daughter.

    I was okay with the significant mean-spiritedness of TALK TO ME, because I felt like it had an interesting pseudo-mythology, and it invested its characters with a certain degree of felt agency in how they go about getting into their predicament and then wrestling with it (a la IT FOLLOWS). I experienced this one as really tripling down on the idea of helpless children falling into very bad hands, and although we do eventually get a teensy weensy bit of agency, it’s too little too late.

    The ending also feels like a bit of a failure of nerve. As far as she’s gone, and as far gone as she is, I see her going all the way with the ritual. The sudden moment of clarity business seems unearned to me and out of step with the rest of the film. If you’re going to go this fucking dark, I think the tone, momentum, and logic of the film calls for it to go all the way — follow the premise to its logical end. Either that or Andy and Piper need to just straight up kill this nutty bitch and rescue Connor. The film seems to split the difference, opting for a somewhat limp, flinching ending that I don’t respect.

    There’s a lot of individual pieces to like (I loved the Andy and Piper performances, and, of course, Hawkins is putting on an acting clinic), but the whole is unsatisfying and bad icky.

  10. SPOILERS SPOILERS SPOILERS

    FOR REAL, SPOILERS

    Agreed with you on the ending, Skani. After all the pre-meditated, manipulative, and horrible stuff she’s done, I don’t believe the character would suddenly give up like that. Either have Andy somehow come to the rescue of his sister, or go way darker, have Sally Hawkins succeed, but then her ‘resurrected’ daughter be horrified by her actions. Either one I think would be more satisfying.

  11. Yup, agreed!

  12. I had REALLY thought she was going to suceed and the daughter was going to turn away from the mother for her actions. Kinda glad they didn’t do that because the dang movie was dark enough. Was a really good one.

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