X
- 2022
- R
- IFC Films
- 1 h 43 m
- 2022
- R
- IFC Films
- 1 h 43 m
Summary Margaret’s (Rebecca Hall) life is in order. She is capable, disciplined, and successful. Soon, her teenage daughter, who Margaret raised by herself, will be going off to a fine university, just as Margaret had hoped. Everything is under control. That is, until David (Tim Roth) returns, carrying with him the horrors of Margaret’s past.
Directed By: Andrew Semans
Written By: Andrew Semans
- 2022
- R
- IFC Films
- 1 h 43 m
- 2022
- R
- IFC Films
- 1 h 43 m
Resurrection
70
5.9
Where to Watch
Summary Margaret’s (Rebecca Hall) life is in order. She is capable, disciplined, and successful. Soon, her teenage daughter, who Margaret raised by herself, will be going off to a fine university, just as Margaret had hoped. Everything is under control. That is, until David (Tim Roth) returns, carrying with him the horrors of Margaret’s past.
Directed By: Andrew Semans
Written By: Andrew Semans
Where to Watch
Top Cast
Metascore
Generally Favorable
Based on 28 Critic Reviews
70
82% Positive
23 Reviews
23 Reviews
18% Mixed
5 Reviews
5 Reviews
0% Negative
0 Reviews
0 Reviews
Metascore
Generally Favorable
Based on 28 Critic Reviews
70
82% Positive
23 Reviews
23 Reviews
18% Mixed
5 Reviews
5 Reviews
0% Negative
0 Reviews
0 Reviews
The conclusion might leave some throwing their hands up in frustration and others applauding its audacity, but it's an ending that will definitely leave you with something to talk about and ponder long after the credits finish rolling.
Movies like Resurrection are terrific because they blur the line between how you’d act in reality and what’s appropriate for a film.
User Score
Mixed or Average
Based on 26 User Ratings
5.9
50% Positive
13 Ratings
13 Ratings
35% Mixed
9 Ratings
9 Ratings
15% Negative
4 Ratings
4 Ratings
User Score
Mixed or Average
Based on 26 User Ratings
5.9
50% Positive
13 Ratings
13 Ratings
35% Mixed
9 Ratings
9 Ratings
15% Negative
4 Ratings
4 Ratings
Resurection até que começa muito bem, filmando o cotidiano da mãe da filha de forma satisfatória, sem aquelas típicas piadinhas que deixam os diálogos não naturais, é de uma ambientação e de um realismo acima da média. O problema é que o roteiro parte para o grotesco.
Deve-se dizer que é um filme para o feminismo contemporâneo, o que não é de maneira alguma um demérito. Margaret (Rebecca Hill) é a típica workaholic, desapegada, que costuma pegar seu colega de trabalho sem qualquer compromisso ou melodrama sobre o fato, tendo que lidar com a filha adolescente que, ao menos, o roteiro não forçou uma jovem chata, a filha está caracterizada num tom adequado para o filme.
Então, ao surgir um amor do passado e as relações que esta sombra pode esconder (com um filho morto), temos aqui a fuga de algo meticulosamente construído para um didatismo que pesa a mão e que não sabe voltar ao equilíbrio. É decepcionante ver toda aquela atmosfera sendo entregue a um suspense bem irregular, e para piorar os homens estão canastrão.
Bem, também não seria problema algum ter contornos surrealistas, mas aquilo que o "Bebê de rosemary" fizera com tanta maestria, aqui o roteiro precisa gritar e escancarar o perigo, seja em falas descrevendo o óbvio ou mesmo tornando a mulher uma louca varrida. Sim, isso ocorre, portanto, não é nada sutil essa mudança de arco narrativo, como se estivéssemos em dois filmes diferentes, para a vergonha e incredulidade de quem está a assistir.
Ao menos as interpretações são coesas, e o simbolismo, claro, tem muito a falar, compartilhando o ônus do parto e indo em busca de dar à luz ao seu verdadeiro eu, é como se às mulheres restasse sobreviver e viver para além do parto e da maternidade.
Tudo isso poderia muito bem ser desenvolvido da maneira como iniciara, de forma sutil, mais lírica. Veja o filme e verá que o diretor perdeu a mão e despirocou de vez, traduzindo em imagens de forma mais escrachada possível os anseios femininos.
O resultado pode até ter algo muito relevante a dizer, mas como cinema, essa falta de apuro só tornou o filme mediano mesmo, sem muito o que mostrar para além de tudo que já fora produzido sobre o tema.
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Now THIS film should have been called 'Men', as opposed to Alex Garland's newest. What a let down that was. This well shot beguiling slowburn thriller will keep you way more engaged than the surface level tomfoolery of similar films, most notably Alex Garland's 'Men', which in my opinion should have been titled 'Mess'. This films isn't going to burn your socks off, but it is DEFINITELY worth the watch - Tim Roth delivers as usual! What a fantastic cast with this one, a cast that you can believe. Happy to give this a 7.
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Without exactly revolutionising the form, Semans’s debut delivers an unsettling tale of psychological torment and the kind of creeping dread and shocking climax that hallmarks some of the best horror.
The film is one of the more intrinsically frightening evocations of a traumatized mind since Twin Peaks: Fire Walk with Me.
Writer and director Andrew Semans puts Hall in every scene of this modest but effective thriller, and she comes through with a stunning, charismatic performance.
Delivering a happy ending that feels like a cheap way out of the story, Resurrection may initially shake one to their core, but by the finale it devolves into little more than a diabolically outrageous genre outing for two great actors.
It has the feeling of a short film stretched beyond its limit, with all that early tension dissipating, and while there’s certainly something jolting about the gonzo violence in the finale, it’s otherwise ineffectual.
[SPOILER ALERT: This review contains spoilers.]
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I adore Rebecca Hall and think she is underrated and we should see more of her, Tim Roth is always amazing, and Grace Kaufman was a fresh face who didn't get enough screen time in my opinion, but the plot dragged for me. It was intriguing enough, but we never really got to see behind the curtain. Maybe one scene of the abuse she survived would have framed her psychotic reaction better. I also get that you weren't supposed to be able to tell psychosis from reality, that was the point (to put the viewer in her position), but it was a bit ham-handed. They made David too real. I like a "up to the audience" ending too, but this one was abrupt and didn't give me enough. Maybe that's me, but the failures of this movie outshined great performances. The plot needed some umpf!
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In Resurrection, drama and trauma come first. That's evident in the character portrayed by Rebecca Hall. It's clear there's something that keeps her so alert.
Then we're let in on what's going on and so the twists begin, especially the **** up one that in my opinion doesn't quite come together because it's a horrific event, but the film doesn't exploit it in that way. It's like it was afraid of being so messed up. And that's the turning point of this story, whether you buy it or not. I didn't and that detracts points and a lot of strength from this movie.
Horror film and thrillers expect a lot of disbelief from the audience, but sometimes that can backfire quite a bit. I don't deny that both Hall and Tim Roth manage to keep it from feeling downright ridiculous, but the way they teeter between that line is a very risky gamble for this tale.
If its climax and ending are merely the assumption of a metaphor, I might be more sympathetic to what this plot proposes, alas Resurrection didn't have the subtlety to deal with the subject matter in that way.
It's okay for a film not to give away all its answers and for the audience to accept that not everything should be definitive, but neither should the experience become frustrating just because it is, and that's where Resurrection fails.
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If it weren't for the professional skills of Rebecca Hall and Tim Roth, this would have been a total mess. Hall plays a successful single mother whose life is upended when a man shows up from her past (Roth). This could bode well for a potential thriller, but the unnatural aspect throws the whole thing into absurd land. Any mild tension was easily overshadowed by the dramatic outbursts. There are undeniable influences from the body creepiness of David Croenenberg (most recently Crimes of the Future) with some of the weirdness of Julia Ducournau (Raw, Titane). Even so, this is less successful in concept or execution than either of those directors.
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Awards
Indiana Film Journalists Association, US
• 2 Nominations
Fangoria Chainsaw Awards
• 2 Nominations
Cleveland International Film Festival
• 1 Nomination
