Azrael

This is a well put together movie. The production, sound and lighting are all pretty strong. The acting, despite a word not being uttered, is good. Samara weaving was excellent as the determined and gritty lead. I'm keen to see her in action with actual lines.

The dialogue free story moves at a fair pace without ever truly grabbing you by the balls. It's occasionally gory/bloody and unnerving but is never jumpy or particularly frightening.

There are small breadcrumbs of clues smattered around about the post rapture apocalyptic world the movie is set in - but there's a lot left up to your own interpretation and many won't get past that.

I'm still most confused how such a fine looking truck decked out with all the mod cons pops up out of nowhere. Especially driven by a relatively normal guy (that actually speaks)!?

A better, more polished effort than many I've watched on shudder but no classic by any means.

In the aftermath of the Rapture, Azrael (Samara Weaving) and her lover Kenan (Nathan Stewart-Jarrett) are outcasts from a cult that have renounced the "sin of speech" by surgically removing their vocal chords. When the two are captured by the cult with Azrael sacrificed to the burned creatures that prowl the land she narrowly manages to escape and embarks on a quest of retribution against the cult.

Azrael comes to us from director E. L. Katz and writer Simon Barrett. The film came about as something personal for Barrett as per an interview by Katz with Comic Book Resources, Barrett came from a religiously oppressive upbringing and incorporated that with a dream he had that served as the basis for what would become Azrael. Uncompromisingly brutal and atmospheric, Azrael creates an engaging and immersive experience thanks to a strong lead and an effectively atmospheric world.

While Azrael covers well trodden ground of stories involving aftermath of the Rapture (such as the multitude of unimpressive Left Behind films), Azrael largely acts as a subversion of those films and is less about reaffirming faith with fear and more about creating a twisted world of faith gone wrong to the point it robs its followers (willing or unwilling) of their ability to speak leaving them in a cold unforgiving world without reason or argument. Being a dialogueless film, the actors have to rely more upon facial expressions, action, and suggestion to create character and build the world and they do so quite effectively with Samara Weaving particularly good as the titular Azrael. While the film is relatively small scale and features another visit to the all too familiar location of the woods with many films inspired by the likes of A Quiet Place (such as the recent and underwhelming Never Let Go) I felt it did a good enough job with its creation of the cult compound and the surrounding atmosphere to largely avoid the traps of some other similar films from this year. The movie has an absolutely fantastic ending that pays off the carnage in a memorably disturbing fashion and it made me think of the underrated Gareth Evans horror film Apsotle from 2018 and makes a great companion piece.

I really enjoyed Azrael. While it does cover familiar ground, it also creates a stylish and unique atmosphere and useless the increasingly common "no dialogue" gimmick to solid effect and creates a memorably brutal and engaging ride.

And it leaves a lot up to the imagination. These things do the film no favors. Nothing is explained and that is fine. I guess. But it also keeps the viewer at arm's length. How I am supposed to care about the lead when she is just in one after another of the same situation. Yeah, we get it: she's scrappy.

It was also hard to stay abreast of who was who without names, dialog, etc. I can't even tell you if there was an "us" or a "them".

The movie just seemed there. And it tried to justify its there-ness with the mostly non-verbal contrivance at its core. But while the silence in A Quiet Place has its reasons, I just don't get it here.

There is only one positive thing about this film. The cinematography, but only a quarter of it. They reallly get you in the first act with this Resident Evil 4 aesthetic. After that, it's like they only had budget for a n00b of a camera operator.

However, the more we get into the story, if that's what you want to call it, the more comically ridiculous it gets.

For example, the whistling. That's really the next best way to communicate? There have been movies that I'm use sign language but it feels unnecessary to the narrative. But in this film, it is the perfect time to use some sign, and yet we are stuck with these idiots whistling at each other like some choo choo trains.

In a world in which no one speaks, a devout female-led community hunts down a young woman who has escaped her imprisonment. Recaptured by its ruthless leaders, Azrael is due to be sacrificed to pacify an ancient evil deep within the surrounding wilderness - but she'll stop at nothing to ensure her own survival. Azrael makes a savage bid for freedom as her escape accelerates towards a vicious, revenge-fueled showdown.

And what a showdown it is. Being hunted through the forest, captured, escaped, recaptured, re-escaped, captured again, Azrael is one unlucky woman the way she is hunted and captured over and over. However she thinks she has found the key to survival toward the end, but everything turns to gore filled carnage. And not a single word of dialogue the entire film. So the meaning of it depends on the actors acting ability, and our perception. What does the end mean? Well, your guess is as good as Azrael's... The acting isn't great, but the mood and the story are fabulous. It's well executed and paced well despite there being no dialogue and long shots of actors just staring at each other or into the distance. I really enjoyed it and gave it a solid 6 for gore entertainment.