Indie Film Review “The Demoness” Supernatural horror goes darkly comedic in director Andrew de Burgh’s newest feature
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First, the Recap:
It should be safe to assume that no one in their right mind would ever welcome a visit by any entity of supernatural origin bent on causing as much grief as possible to said person, much less to ALL of humanity. Quite the opposite (again, one would HOPE!), one would honestly attempt to do everything they can to ensure the entity was driven out and/or away to ensure no further harm would be endured. But….what happens when said entity simply won’t go, and has other, loftier (though still overtly diabolical) ambitions to boot??
For the Demoness (Sydney Culbertson), chaos reigns, designs for tormenting all the earth is being explored, and she is fully prepared to do whatever it takes to show her “esteemed”, eternally evil boss Lucifer (Mark Pontarelli) she means business. Striking fear and initiating bloody mayhem in the lives of everyone she encountered to date, the Demoness hatches her plans with wicked glee. However, will it be enough to convince Lucifer that an even grander partnership might be worth it? Or will it be an infernally hopeless pursuit?
Next, my Mind:
I am going to preface the opening statement I am about to make in that the sentiment communicated is NOT a BAD thing. So, upon embarking on my viewing of the 93-minute indie feature film from writer/director/producer Andrew de Burgh, producer Sam Brittan, co-producers Steve Boyle and Ananya Chopra, plus executive producers Raksha Colaco, Ian Corbyn, and Nicholas de Burgh Sidley, I admit I was, initially, a little confused. The air of potential tension and menace was there that I would anticipate for a film with the title it has, and even the beginning sequence of events would more than lend support to this ambiance as well. At least until I found myself……laughing. Yes, that’s right……laughing. Even as the film continued to unfold, the unavoidable wittiness being conveyed very much stood out amidst even the most intentional horror/thriller/supernatural elements that are present. But it IS this that MAKES the film end up WORKING.
Yes, it’s unconventional. Yes, it’s quirky due TO this particular approach (which again, this critic simply wasn’t immediately prepared for) to horror, much less the perspective it ends up being told from and in what forms. BUT….it WORKS once you’ve accepted this WON’T be your prototypical horror film. In many respects, think “Evil Dead 2” rather than something akin to “The Conjuring”, et al. This narrative instead delivers its purpose by following the exploits, and soon overt frustrations (and MORE exploits), of a Demoness, who isn’t finding herself totally satisfied with the current role Lucifer has her in. Hence, she WANTS more. Even in carrying out the most vile of “duties” though the torment she relishes initiating on those she, well, torments, it becomes very evident her ultimate (for us, mirthfully so) discontent with her job is building, even to the extent of summoning, politely complaining to, and imploring for a deal with her most devilish of bosses.
How the film moved forward from this becomes even more darkly hysterical, and so many facets of the imagery and actions the lead character showcases are VERY purposefully over-the-top, certainly capitalizing on some well-earned bloodiness (and perhaps some “wink-wink, nod-nods” to genre tropes along with way), yet never sacrificing that consistent, underlying, almost satirical humor driving the story ahead. And don’t get me wrong here. I am not remotely attempting to say the film is ALWAYS smile-inducing in the aspects being explored. BUT, I cannot say that this jocular direction isn’t prevalent, either. It illustrates another completely apropos statement about the fact that independent filmmakers DON’T tend to ever stick with the “traditional” playbook, but rather unequivocally desire to push the boundaries, really more so CROSS them, with an aim TO surprise us, throw us off, and make us consider the genuine value of an effort to bring into being what’s so lacking in the mainstream…originality.
Thematically, the notions of self-worth, career satisfaction, discontent with the state of humanity, power trips, misogynistic attitudes, the desire to correct perceived or legitimate wrongs (though perhaps in our own definition of it), fresh life experiences, the fervor to evolve, finding out our actions taken in haste and agitation can spell potential disaster for us and superb concern for others whom we trust in, taking advantage of opportunities presented, and having overtly high ambitions and weightier dreams were all touched on in the course of the narrative. But again, it’s HOW and through WHOM this is all being conveyed that makes these facets much more amusingly entertaining in nature as opposed to necessarily compelling or evocative in the standard sense. I mean let’s be frank, taking life lessons from a malicious entity bent on bedlam isn’t precisely GREAT for human beings here! The baneful shenanigans push through to a finale (AND a post-credits scene) that assuredly would speak to what the future might hold for our intrepid, insistent, and maybe a LITTLE overzealous Demoness, but we will wait to see exactly what the fate of this will be.
One can only surmise that Culbertson utterly savored and delighted in her chance to play such a deliciously impassioned, whimsically terrifying creature through her role here as the Demoness, a denizen of a certain place FAR South whose antagonizing of a recent couple, to their detriment of course, has now caused her to want something more from her taskmaster of a boss, Lucifer. Defining what she’s looking for, her wish gets granted, with conditions of course, and hence she embarks on a quest to cause the allotment of pain and terror she loves to gain more chances to do bigger things. However, whether she can pull this off remains to be seen. From the wonderfully exaggerated body movements and vocalizations to one sinister (yet eerily playful) mean streak, the Demoness exudes while executing her plans, Culbertson does successfully create a monster that embodies both fear and loathing, while adding the pitch black humor behind it all with excellent effect that does elicit wretched and righteous laughs as the character navigates the stormy seas of initiative, irritations, arrogant and meddling humans, and her need to win over the Devil himself.
Starring turns arrive also from Pontarelli as the Demoness’ “keeper”, Lucifer, who isn’t always the most happy when one of his many minions decides to constantly call upon him for favors, even if he admires the enterprising resourcefulness of this one. Always maintaining watch over her actions based on their deal, will the Father of Lies and great manipulator be won over for a greater plan? Pontarelli likewise emotes with inflated bravado that so beautifully suits the character and the tone of the film. Akihiro Kitamura and Amelia Gotham are Yagami and Tamara Minamino, neighbors of the couple whose lives the Demoness has upended and who end up inviting her to dinner, which immediately seems like a bad, bad plan given the circumstances until there’s a possibility that they also might not quite be what they seem on the surface. The actors play the part of “normal” with the ideal amount of credibility that also serves the direction their story goes magnificently. Haruka Igarashi plays the couple’s daughter Saori, an innocent, though ill, girl who may have (involuntarily) more to do with her parent’s…doings…than she might prefer.
Bruce Clifford and Riley Nottingham are Brad and Steve, two rather self-assured men whom the Demoness happens upon at a local club she’s chosen to hunt at. As one might also anticipate, the men’s misfortune at not understanding what they’re really dealing with could spell doom for them both, even if their huntress likes to play with her food at first. Both actors portray the “typical” successful, greedy, shallow guys they are playing with energy and full believability. Bella Glanville and Xander Bailey are Sarah and Jack, a married couple on the rocks whom the Demoness has first chosen to drive towards growing disenchantment towards each other by stirring the marital pot in a certain manner that sets Sarah off. But, will her choices bring her peace….or simply open the door for her own eventual fall from life. Dallas Schaefer is Det. Gerrard, a corrupt local law enforcement official who may soon wish he never knew the person who pays him to investigate the goings on at Sarah and Jack’s…former….home.
Supporting appearances are made by Jutta Charbonnier, Taylor Anne Danehower, Payton Sullivan, Lindsay Magid, Sirena Hawthorne, Abigail Cavanaugh, Makenzie Knore, Adagia Brighton, Maddisen Darr, Riley London, Natasha Gomez, Alissa Bonilla, and Yeva Nam. So, in total, “The Demoness” quite proficiently and, being truthful, with surprising manner of tone and intentionality, conjures up a fiendish combination of horror and sharply pointed sardonic wit that amuses with spirited chills and chuckles while still dispatching plenty of sanguinary thrills we WOULD look for in this style of film. It really is a genre-bending exercise in making a point about humanity, its faults, and the price we might pay for our ignorance of making needed changes to better ourselves, but told from the last perspective we’d ever imagine. Clever. Grass roots. Independent filmmaking. What’s not to die for?
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
