It’s not applicable to critique the acting because there’s so little attention paid to making anyone on screen feel like a real person even the excellent McKenna Grace as young Madison and legendary stuntwoman Zoe Bell aren’t given enough to stand out. The nearest the movie comes to human interaction is in those moments, marking them as the only characters you’re hoping don’t die. There’s no character development to speak of, though the two nice sisters going gaga over the handsome hapa detective each make you root for them.
(Are you sure you want to stroll into the superhuman killer’s lightless lair alone? Police procedure - what’s that?) And it’s more annoying than usual that characters don’t behave believably. The dialogue throughout is remarkably flat, even for the genre.
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Slow push-in after slow push-in and other unmotivated camera moves, plus copious fog-machine work and a poorly deployed score stand in for atmosphere or tension. The direction feels uninspired, even wan. It’s not creepy, it relies on highly improbable decisions, and it throws jump scares and slider-happy sound design at the wall hoping something will stick. Which is not to say “Malignant,” which was not screened for review until the night before its release, succeeds as a scary movie - it does not.
Can Madison’s happy actress sister Sydney (Maddie Hasson) and suspiciously good-looking Detective Kekoa Shaw (George Young) unravel the mystery before more people meet gruesome ends? One horrible murder later, Madison begins experiencing visions of grisly crimes that seem connected to that sinister and sketchy old institution. He calls himself Gabriel, which also happens to be the name of her imaginary childhood friend, the memories of whom she’d long repressed.ĭecades later, very pregnant Madison (Annabelle Wallis) is getting roughed up by her awful husband.
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Meanwhile, Madison receives a series of communications from the professed killer. Needless to say, the gruesome killing spree attracts the interest of a pair of homicide detectives (George Young, Michole Briana White), one of whom becomes convinced that Madison herself is the murderer. Weaver and the other physicians involved in the opening sequence. Upon her recovery from her injuries, Madison, whom we learn has suffered a series of miscarriages, begins experiencing horrific visions in which she sees the same creature brutally murdering other victims, including Dr. As it’s later sarcastically described in the film, think Sloth from The Goonies, if he had also been a contortionist and was in bad need of a haircut. Hubby soon pays dearly for his transgressions, when he’s killed by a home intruder who seems to be some sort of demonic creature. How this shocking introduction relates to the rest of the story is revealed only gradually, but suffice it to say that narrative coherence was clearly not a priority.Ĭut to the present day, where we’re introduced to the main character, the very pregnant Madison (Annabelle Wallis, of The Mummy and Annabelle), whose abusive husband (Jake Abel) repeatedly beats her, at one point bashing her head against the wall so severely that she wakes up with her pillow covered in blood. Weaver announces dramatically to her fellow doctors.
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