'Never Let Go' Reviews: A "truly scary film that marks one of Berry’s best work in a long while"

         On September 20, 2024, Lionsgate releases 'Never Let Go', which has received predominantly positive reviews from critics, currently holding at 71% on Rotten Tomatoes. In the film, "as an Evil takes over the world beyond their front doorstep, the only protection for a mother, played by Academy Award® winner Halle Berry (Actress in a Leading Role, 2001 -- Monster's Ball), and her twin sons is their house and their family's protective bond. Needing to stay connected at all times -- even tethering themselves with ropes -- they cling to one another, urging each other to never let go. But when one of the boys questions if the evil is real, the ties that bind them together are severed, triggering a terrifying fight for survival." The ensemble cast includes Percy Daggs IV, Anthony B. Jenkins, Matthew Kevin Anderson, and Stephanie Lavigne. But what did the critics say?

        J. Don Birnam of Next Best Picture says, "Fans of niche horror rejoice at the arrival of Academy Award-winner Halle Berry into the genre. In her latest film, “Never Let Go,” she plays Momma, a woman living with her twin sons in a post-apocalyptic world, stalked by monsters. Captivating and ferocious, Berry’s Momma must fight back against the forces of darkness that are stalking her and her children while facing renewed doubt about the reality of the evil that surrounds her. The end result is an enjoyable and, at times, truly scary film that marks one of Berry’s best work in a long while."

       Laura Potier of Starburst praises the film, stating, "While this reviewer can’t decide whether Never Let Go would have been better as an ultra-serious, Gothic chamber piece or as an all-pulp, jump-scare extravaganza, Aja’s latest is still an entertaining, polished horror... perfect for spooky-season viewing."

       Courtney Howard of Variety notes, "Never Let Go” isn’t interested in reinventing familiar formulas when it comes to its unsettling spin on sinister spirits visiting a secluded cabin in the woods. With its inclusion of a protective mother and her two young kids attempting to escape an evil entity plaguing their world, it’s also unafraid to invite minor comparisons to “Bird Box.” Still, director Alexandre Aja’s psychologically taut feature blazes its own trail, dropping us into the middle of one family’s ghastly, worsening crisis, craftily drawing its scares from their interpersonal and intrapersonal strife. Though not all of its clever ideas come together efficiently in the finale, its thematic ruminations on grief, sanity, rebellion and redemption are intrinsically intertwined to harrowing, claustrophobic effect, heightening the hallucinatory horrors and dread-soaked atmospheric pull." Adding, "As demonstrated in Aja’s previous films, ranging from “High Tension” to his “The Hills Have Eyes” remake, the French genre director’s strength lies in stories dealing with ordinary people trapped in seemingly insurmountable, nightmarish experiences. Each is told with brevity in mind, streamlining the narrative’s pacing and twists. The same can be said of the way Aja fearlessly explores similarly bleak mounting circumstances in “Never Let Go,” sensing how to tap into the shared universal fears of both the characters and the audience rooting for their survival."

       David Rooney of Hollywood Reporter was less impressed, stating, "Splat Pack veteran Alexandre Aja tries his hand at family-in-peril horror along the lines of the Quiet Place franchise with Never Let Go. But mostly, the French director just succeeds in making us miss his entertainingly trashy swerves into B-movie pulp, with creature features built around ravenously bitey carnivorous fish (Piranha 3D) or giant Florida gators riled up by a hurricane and flood (Crawl). Whatever their strengths and weaknesses, those movies were fun popcorn entertainment with teeth. Fun is banished from Aja’s latest, which starts out mildly intriguing and chalks up a few bracing jump scares before running out of juice." Concluding, "Part of the problem with KC Coughlin and Ryan Grassby’s feeble screenplay is the laboriousness of its setup. Halle Berry plays a woman, initially identified only as Momma, living in woodlands isolation in an old timber family home with her preteen nonidentical twin sons, Samuel (Anthony B. Jenkins) and Nolan (Percy Daggs IV). Whenever they step outside the house in search of food, they must remain tied to its foundations with thick ropes and: Never. Let. Go. That way evil can’t touch them and make them do bad things, explains Momma, so many times you want to scream, “Jesus, we get it!”

Photo by Cody Chan on Unsplash

'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."