Intriguing Backstory Fails to Deliver

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MOVIE REVIEW
Devilreaux
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Genre: Horror, Thriller
Year Released: 2023
Runtime: 1h 34m
Director(s): Thomas J. Churchill
Writer(s): Thomas J. Churchill, Vincent M. Ward
Cast: Tony Todd, Vincent M. Ward, Jon Bridell, Krista Grotte Saxon
Where To Watch: in Select Theaters, Digital, and On Demand Friday, June 9, and on DVD July 18, 2023

RAVING REVIEW: repare for a twisty ride through the labyrinthine hallways of the horror film universe, where we find two types of beasts lurking in the shadows: those painstakingly crafted creatures that may, alas, lose their way despite meticulous planning and those Frankenstein-like entities hastily stitched together, hoping for a miracle. The feature of our exploration today, DEVILREAUX, unfortunately, falls into the second category. This rush job is further marred by director Thomas J. Churchill’s notorious forays into the direct-to-video world of the Amityville series and off-camera accusations.

Let’s dive into the crux of DEVILREAUX, a tale with some faces that may be familiar with Tony Todd (associated with the CANDYMAN franchise) and Vincent M. Ward (known for THE WALKING DEAD). The film centers on mysterious disappearances, and the revenge served cold from the depths of the underworld. Lt. Bobbie Briggs (played by Krista Grotte Saxon) finds herself deep in this mystery when a group of teenagers vanishes without a trace. Her pursuit for the truth leads to the discovery of Devilreaux, a spectral figure armed with a deadly shovel (yep,) hell-bent on righting ancient wrongs. I will admit, the voodoo aspect of this character had me at least intrigued, but the execution (if you will) was poorly pulled off, taking away the potential mystique surrounding him. This revelation takes Briggs on a journey to a derelict farmhouse, supposedly the mysterious realm of DEVILREAUX. It’s almost like AI wrote this script by being told to take the entirety of the horror genre and try to make something new without adding anything new.

When it comes to DEVILREAUX’s execution, it fails to pass even the most basic of tests. It feels like every horror trope and cliche mixed into one, with no real focus on what it wants to be. The saving grace, if any, is Tony Todd, a luminary in the horror scene; his inclusion felt more like a favor that he had to do than anything of actual substantial importance. Instead of serving up a cocktail of suspense, drama, and spine-tingling moments, the film struggles to find footing and looks more like a high school project. This apathetic attitude permeates the film, leading to an anti-climactic ending that scratches our heads.

In the opening act, we find Briggs knee-deep in a survivor’s account of a run-in with Devilreaux, invoked by a spirit board. Here, the narrative quickly loses momentum; after an intriguing beginning, it starts to veer off into an extended flashback that attempts to tell us the back story of Devilreaux. This revolves around a plantation owner’s egregious act of violating an enslaved woman, giving rise to the vengeful Devilreaux (again, potential, but it felt more forced than being in the right place.) Todd steps into the shoes of the enslaved woman’s husband, who seeks vengeance, only to meet a tragic end. This ignites the fury of Devilreaux, played by Vincent M. Ward. This could have been interesting if the focus had stayed in this timeline; unfortunately, the narrative bounces back to the present.

DEVILREAUX is lacking in multiple categories, and the biggest issue is its lack of focus. Churchill’s uninspired filmmaking and lackluster ability to get everyone on the same page fail to create an authentic horror atmosphere. The limited budget and uninspired acting amplify this. It’s one thing to be new, and it’s another thing to feel like you’re forced to be on set.

In conclusion, DEVILREAUX, with its constraints of budget production, underwhelming performances, humdrum screenplay, and unimaginative direction, becomes an unfortunate blot in the resumes of everyone involved. Ultimately, the only redeeming quality I could find was the potential for an enjoyable New Orleans/voodoo-inspired villain, but that was squashed early on.

So folks, as the credits roll, remember that every film is a journey, and sometimes, the destination isn’t worth it. This film has taught me that not all are redeemable; sometimes, you should listen to your gut when you have a terrible feeling.

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[photo courtesy of LIONSGATE]