Succubus

This film is a dark jewel, a shimmering exploration of loneliness, desire, and the seductive pull of the digital void. It's a story of psychological unease that unfolds not in darkened basements or fog-shrouded graveyards, but in the sterile glow of a laptop screen, the echo of a disembodied voice on a video call, the relentless ping of a dating app.

Brendan Bradley gives a performance of remarkable sensitivity as Chris, a man teetering on the precipice of a breakdown. This is not the tired trope of the pathetic, emasculated male; this is a raw, unflinching portrait of a father, a husband, a person grappling with the crushing weight of modern life. The scene where he sits catatonic, tears silently streaming down his face as Ron Perlman's Dr. Zephyr delivers a chilling warning, is both heartbreaking and terrifying. Some might call Bradley's acting in these moments "droll" or "listless," or even a "phoned-in" performance, but they clearly weren't paying attention. The quiet intensity he gives, his nuanced portrayal, embodies what other actors and reviewers fail to grasp.

Rachel Cook's Adra is incandescent, enigmatic, everything a succubus should be. Cook gives us a creature of mesmerizing allure and primal magic, a haunting blend of innocence and danger, hope and despair, vulnerability and power. Her transformation in the movie's brutal, practical-effects-driven finale, from dream-lover to demonic power, is a feast for the eyes and captivates the viewer completely.

Director R. J. Daniel Hanna creates an atmosphere of creeping unease, using technology itself as a tool of terror. The intrusive buzzing of notifications, the pixelated glow of screens, the hushed intimacy of video chats: all become instruments in a symphony of dread and disturbance. The electronic score pulses, mirroring Chris's unraveling mental state.

What some have criticized as excessive dialogue is, in fact, another layer in the film's complex tapestry. Ron Perlman as the disgraced scientist adds another dimension to the film's exploration of loneliness and longing. His limited online interactions and detached performance make him a poignant, modern trope. The disjointed conversations emphasize social anxieties. Through masterful editing and darkly comedic moments, like Eddie receiving maternal guidance mid-flirtation (unaware his mother is on camera), the film skewers the absurdities of our digital world.

This is a film that will stay with you, a visceral experience not for the faint of heart. Is it excessive? Perhaps. But that is precisely where its power lies. Do we, seduced by the promise of connection and trapped by our screens, truly know the nature of the darkness lurking just beyond the screen, in ourselves, or those digital whispers promising a fulfillment that isn't remotely there?

I liked this movie quite a bit. I know nothing about dating apps - but the use if a dating app and the uses of chat and the computer/social media in general was very effective. My guess is that no dating app has women as young and attractive as most of those in whatever app Chris was using. And probably that not many women that young and attractive are very interested in going out with a father in the middle of a separation with a very young child, but what do I know?

If you get past that - and suspend belief that said father would not be suspicious about a woman who looked like Rachel Cook oozing over him - the movie is very much fun. Ron Perlman is not going to win an Academy Award for his performance, but the character was fun - I spent a lot of the movies trying to figure out whose side he was really on.

The succubus mythology was interesting and the final ending both surprising and foreshadowed.

An altogether competent bit of fun.

In this 2024 erotic-horror-thriller, we follow a man who joins a dating app after his marriage falls apart. His life is a complete mess, and he keeps finding himself in awkward situations, ultimately swiping right on a dating app on the wrong woman. The movie starts off clever and fun, introducing us to the main character, Chris (Brendan Bradley), his estranged wife Sharon (Olivia Grace Applegate), and his best friend Eddie (Derek Smith), who is kind of a douche. Chris is still in contact with Sharon even though they are separated, and she's currently at a bachelorette party. Instead of enjoying the evening, she keeps checking the baby monitor, only to witness some really weird things.

There is also Chris's mom, who is constantly worried about him, played by Rosanna Arquette, the exposition-heavy Ron Perlman, and Adra (Rachel Cook), the mysterious woman from the dating app. Chris is home alone with the baby and keeps video calling with the different character's which added some dynamic interactions and gives the audience the chance to get to know the different characters.

The acting was convincing, especially from Brendan Bradley and Olivia Grace Applegate, who delivered great performances as Chris and Sharon. Rachel Cook looked stunning and portrayed her role really well too. The concept was a little cheesy but undeniably fun, and the movie had some interesting ideas. However, the execution lacked in several areas, and the pacing felt uneven.

The story began intriguingly, but as it progressed, it became awkward and weird at times. It felt like the filmmakers ran out of ideas halfway through and needed filler material to extend the runtime. At one point, you think the movie is over, only to discover there are 15 minutes left, during which they throw in a final twist. While I liked the ending, it felt out of place and added to the movie's uneven tone.

On the plus side, the movie featured some nice special effects and a dreamy atmosphere that were enjoyable. The comedic aspects were unexpected but well-executed, with plenty of awkward moments stemming from the seductive Adra and the clumsy Chris.

Overall, the movie was fine but could have been much more enjoyable with some adjustments to the story and post-production. [5,2/10]

If you thought this movie will be full of sexy demon scenes, you are dead wrong. Half of the movie is this guy going to Tinder while getting a separation from his wife and feeling guilty about it. There are some funny interactions there, but that's not the subject of the movie. Instead it's this demon lady who has an obsession with him, and which also influences people through screens. Meanwhile, the one who knows most about the demon is Ron Perlman, who mostly talks to our hero... you guessed it... via video chat. Yes, people on screens making films about people on screens which you watch on a screen. Human experience in a nutshell.

Trust me, stay away from this.

Generally, the horror genre has not been the go-to category for streaming services lately, with most product mainly imitative, paying only lip-service to the classics. 2024 however has a different feel to it, with some very talented people, both in front of and behind the camera, approaching the core notion of horror from new and interesting angles. Check out for example the novel scripting in ABIGAIL, LONGLEGS, and the completely unforgettable (even if you actually want to) THE SUBSTANCE. SUCCUBUS 2024 continues this trend. Creator R. J. Daniel Hanna, best known for the well-received social drama MISS VIRGINIA 2019, goes genre-hopping here. He attempts to deliver a product that both scares and educates at the same time. The really scary (!) thing is that it almost hits both targets, with a tale that is unique enough to hold attention, and alert enough to flag the "horror" of Social Media in our daily lives. Perlman as supporting actor always adds gravitas to any production, and Rachel Cook will likely bring in enough of her worldwide fans to put SUCCUBUS on the 2024 Leaderboard. ((Designated "IMDb Top Reviewer." Please check out my list "167+ Nearly-Perfect Movies (with the occasional Anime or TV miniseries) you can/should see again and again (1932 to the present))