'The Deliverance' Reviews: "the cast is merely a Trojan horse, fooling viewers into watching a schlocky, unoriginal thriller"

   

Photo by Erica Marsland Huynh on Unsplash

         On August 16, 2024, Netflix released 'The Deliverance', with a scheduled streaming release on August 20, 2024, garnering a mixed reception from critics. With a score of 50% on Rotten Tomatoes and a Audience Score of 93%, the receptions could not have been more different. In the film, which is directed by Lee Daniels, a single mother fighting her own demons is faced with an impossible situation when a haunting enters her family's life. Based upon the true story of the Ammons haunting case, the ensemble cast includes Andra Day, Omar Epps, Glenn Close, Anthony B. Jenkins, Caleb McLaughlin, Demi Singleton, Mo'Nique, and Aunjanue Ellis-Taylor. Read the full review round-up below.

       Cody Dericks of Next Best Picture writes, "If there’s one thing director Lee Daniels is going to do, it’s wrangle up an impressive cast list. And it’s no wonder that stars flock to him – he’s led several performers to Oscar nominations, including a win for Mo’Nique’s acclaimed turn in “Precious” (not to mention how close Nicole Kidman and Oprah Winfrey came to nominations for their work in Daniels’ films “The Paperboy” and “The Butler,” respectively). His latest film, “The Deliverance” – produced for Netflix – features performances from such lauded actresses as Andra Day, Glenn Close, and Aunjanue Ellis-Taylor, not to mention a long-awaited reunion with Mo’Nique. It’s the type of ensemble that would lead to one assuming that the material must be stellar to attract such marquee names. However, the cast is merely a Trojan horse, fooling viewers into watching a schlocky, unoriginal thriller. Just because it features the leading actress from “Dangerous Liaisons” doesn’t mean it’s any different or better than the litany of tiresome horror movies that tumble onto streaming services on a weekly basis."

        Cassondra Feltus of Black Girl Nerds was less impressed, saying, "Despite its stellar cast and intriguing take on the possession subgenre, the film tries to do too many things at once and doesn’t maintain a captivating story."

       Mark Hanson of Slant Magazine praises the film, stating, "Lee Daniels does such a good job investing us in the human drama of The Deliverance that it almost feels unnecessary when the supernatural elements inevitably take over in the final act." Continuing, "Close puts on a master class in camp, at times recalling Nicole Kidman’s Alabamian vamp from Daniels’s bonkers The Paperboy. Strutting through the film in an array of revealing outfits and fabulous wigs, Close makes a meal out of every diva-ready moment as the newly devout and happily promiscuous Alberta, whether she’s shamelessly attempting to seduce the hunky nurse, Melvin (Omar Epps), at the chemo clinic or making snide comments to her grandchildren at the dinner table about Ebony’s parenting skills. Yet when Alberta periodically reflects on her own failures as a mother, Close’s talent for quietly evoking raw and unpleasant emotional states ensures that the character isn’t just a one-note caricature."

       Matt Donato of Collider notes, "Daniels lays household drama thick as possession hauntings leak into frame without urgency, which works to establish stakes yet relies heavily on third-act payoffs." Adding, "The Deliverance is a grab-bag of possession staples tossed into the air at once, and they all come crashing down in the conclusion. Ebony's contortions stick their landing, along with other hellish glimpses, while other parts are more aesthetic than functional. It's never an outright fumble of the finale's payoffs, more a chaotic montage of rotten-toothed devils and bleeding wounds banged into place with a wooden cross."

       Christopher Lloyd of The Film Yap says, "I think it’s supposed to be a fun, wry walk-on part for Mo’Nique, who as you may know has had a rather contentious relationship with Hollywood since winning an Oscar for “Precious.” Honestly, as written it feels an unnecessary role, like Daniels throwing a bone to his old colleague. Better is Aunjanue Ellis-Taylor — another Oscar nominee for “King Richard” — as Bernice, a mysterious figure who seems to show up around the same times Cynthia does, also driving a Mercedes. I’ll leave you to discover on your own the part Bernice has to play, but she gets some meaty scenes during the fire-and-brimstone portions of the movie. Also turning up is Omar Epps as a love interest for Alberta, and I’ll confess I did not even recognize a guy who was once one of the hottest young actors in movies."