A Film That Can’t Decide What It Wants to Be
MOVIE REVIEW
Evilenko (Limited Collector's Edition) [4k Ultra Hd + Blu-ray]
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Genre: True Crime, Crime, Drama, Thriller
Year Released: 2004, Unearthed Films 4K 2025
Runtime: 1h 51m
Director(s): David Grieco
Writer(s): David Grieco
Cast: Malcolm McDowell, Marton Csokas, Ronald Pickup, Frances Barber, John Benfield, Evgeniya Gladiy, Ihor Ciszkewycz, Fabrizio Sergenti Castellani
Where To Watch: available February 25, 2025, pre-order your copy here: www.unearthedfilms.com, www.mvdshop.com, or www.amazon.com
RAVING REVIEW: There’s something uniquely unsettling about a film that dances between history, horror, and exaggerated theatrics, never settling on a clear tone. EVILENKO attempts to craft a psychological study of a killer set against a collapsing political system, but instead, it veers wildly between grim authenticity and over-the-top absurdity. What could have been an unnerving deep dive into one of history’s most disturbing figures morphs into a film that struggles to balance its ambition with execution.
The story follows a disgraced schoolteacher in the waning days of the Soviet Union, a man who moves from his failed profession into government work while unleashing unspeakable horrors. His transformation into a predator is meant to parallel the broader collapse of the Soviet system. Instead of blending these themes into a taut thriller, the film leans into symbolism that lacks subtlety. This is a case where less would have been more, but instead, the narrative beats the audience over the head with its allegory, refusing to let its themes breathe naturally.
Where things take an even stranger turn is in the characterization of its central figure. Rather than portraying him as a chillingly realistic monster, the film gives him almost supernatural qualities. In doing so, it strips away the true horror of his crimes, making him feel less like a real-world predator and more like a standard horror villain. When a character like this starts to feel like something out of a comic book, the fear factor quickly evaporates.
Despite this, Malcolm McDowell throws himself into the role, delivering a performance that is equally disturbing and bizarre. He radiates an unsettling presence, but the material often works against him. The dialogue forces him into grand, theatrical monologues that diminish the menace he should have. There are moments where he is genuinely terrifying. Still, just as often, the script undercuts him with exaggerated flourishes that make him feel like a parody rather than a deeply disturbed individual.
On the other side of the narrative, the detective pursuing him should be the grounded, steady force in the film—the figure who provides an anchor amidst the chaos. Unfortunately, this element is severely underdeveloped. Marton Csokas, who plays the investigator, does what he can with the role, but the character is written more as a plot device than a compelling protagonist.
The film frequently pauses for heavy-handed discussions about the decline of the Soviet Union, trying to frame its villain as an embodiment of a crumbling ideology. While this concept has merit, the execution feels forced, with dialogue that spells out every theme instead of letting them emerge naturally. Instead of feeling like a nuanced exploration of historical and personal darkness, it often plays like a lecture interspersed with occasional moments of horror.
If there is one aspect of the film that truly succeeds, it’s the score. Angelo Badalamenti’s compositions lend a haunting, melancholic tone that lingers even when the narrative falters. His work injects more psychological weight into the film than the script manages to achieve, sometimes becoming the one element that genuinely unsettles. The music builds an eerie undercurrent that suggests the horror lurking beneath the surface, even when the film struggles to convey it effectively.
Ultimately, this film wants to be a gripping psychological thriller but leans too far into theatrics. It seeks historical relevance but distorts reality in ways that undermine its message. It aspires to be a chilling character study but turns its antagonist into something almost cartoonish. There are intriguing elements—moments where the film brushes against something truly compelling—but they are fleeting. What remains is a film that lingers not because of its impact but because of how close it came to something greater.
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[photo courtesy of UNEARTHED FILMS, MVD ENTERTAINMENT]
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