MOVIE REVIEW
All You Need is Death
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Genre: Horror
Year Released: 2024
Runtime: 1h 30m
Director(s): Paul Duane
Writer(s): Paul Duane
Cast: Simone Collins, Charlie Maher, Catherine Siggins, Nigel O'Neill, Olwen Fouéré, Barry McKiernan, David McDermott
Where To Watch: opening in select U.S. cinemas and on VOD from XYZ Films on April 11, 2024

RAVING REVIEW: Paul Duane's ALL YOU NEED IS DEATH, set against the sweeping vistas of Ireland, embarks on an audacious exploration of the intersection between age-old folk songs and the supernatural. Featuring Simone Collins and Charlie Maher as Anna and Aleks, the film initially teases a deep dive into the heart of Irish cultural mysteries. Yet, despite its promising setup, the execution ultimately left me with a lot to be desired, drifting into a murky blend of ambition and incoherence that leaves viewers adrift.

At the outset, ALL YOU NEED IS DEATH tantalizes with the prospect of a richly woven narrative, inviting audiences on a quest to salvage Ireland's vanishing musical traditions. However, the storyline quickly diverges onto a shadowy path, uncovering arcane secrets. Duane's innovative narrative techniques, including security footage and interviews, hint at a fresh approach to the genre, seemingly poised to delve into the ramifications of the digital era on oral traditions.

However, as we explore the story more, the film's narrative slowly unravels. Characters such as Agnes and Breezeblock, brought to life by Catherine Siggins and Nigel O’Neill, are meant to deepen the plot but instead contribute to its convolution, rendering the storyline as foggy as an Irish moor. The pacing stutters, with detours far from the central mystery, diluting the suspense and undermining the development of pivotal themes.

In this venture, the film's score, crafted by Ian Lynch, emerges as a standout, weaving a haunting backdrop that hints at the untapped potential lurking. Yet, this beacon of atmospheric tension is dimmed by a narrative that struggles to find its rhythm, leaving crucial plot developments and character arcs either rushed or neglected.

The film's fleeting engagement with themes of power dynamics and the clash between modernity and tradition could have unearthed a treasure trove of narrative depth. Instead, these themes are only skimmed over and partially explored to their thematic potential. The ambition behind ALL YOU NEED IS DEATH is evident, but ambition without a coherent execution struggles to captivate. You can have all the heart and passion in the world behind a film, but sometimes they just miss.

In the lush landscape of Ireland, ALL YOU NEED IS DEATH, which aims to honor the haunting beauty of forgotten melodies but ultimately falls silent in the broader chorus of folk horror. Characters with the potential for depth are left in the margins, and a storyline that could have ascended into memorable horror lore remains tethered by its lack of focus.

ALL YOU NEED IS DEATH, a poignant reminder of storytelling's core requirement: a compelling story must be matched by equally persuasive execution. Despite setting out with the noble intention of exploring the consequences of unearthing the past, the film inadvertently unsettles its present narrative arc, presenting a journey that, for all its ambition, leaves audiences yearning for the story that might have been. Thus, in attempting to capture the spectral essence of Ireland's musical heritage, the film ends up as a lament for what could have been an ephemeral whisper of the epic it aspired to become.

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[photo courtesy of XYZ FILMS]

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