Review: Evil Dead Rise (2023)

 Evil Dead Rise (2023)

Rated R for strong bloody horror violence and gore, and some language

Score: 4 out of 5

The Evil Dead series has what may be the single best track record for quality out of any Hollywood horror franchise. With the big slasher franchises of the ‘80s, Halloween, Friday the 13^th, and A Nightmare on Elm Street, I can name at least three movies from each series that are downright wretched. The Universal monsters fell off in quality during World War II and only came back when they let Abbott and Costello do an officially sanctioned parody of them. Saw fell off starting with the fourth movie and never fully recovered, even if it still had some decent movies afterwards. Even Scream and Final Destination each have one bad or otherwise forgettable movie marring their otherwise perfect records. Evil Dead, though? The original trilogy is golden and has something to offer for everyone, whether you prefer the first movie’s campy but effective low-budget grit, the second movie’s slapstick horror-comedy approach, or Army of Darkness’ wisecracking medieval fantasy action. The spinoff TV series Ash vs. Evil Dead was three seasons’ worth of horror-comedy goodness that fleshed out the franchise’s lore. Even the remake was awesome, a gritty, ultraviolent bloodbath that took the first film’s more serious tone and put an actual budget and production values behind it, making for one of the most graphic horror movies to ever get a wide release in American theaters. This latest film delivers on the same, with a tone and levels of violence akin to the remake and most of its strengths as a pure, straightforward, whoop-your-ass horror movie with lots of muscle and little fat once it gets going. It may not be revolutionary, but Evil Dead Rise is still as good as it gets, and exactly what I hoped for given this series’ high bar.

Like its predecessors barring Army of Darkness, this is a self-contained story set within an isolated, closed-off location, in this case the top floor of a Los Angeles apartment complex instead of a cabin in the woods. Our protagonists this time are a family, led by the single mother and tattoo artist Ellie with three kids, the teenage DJ son Dan, the teenage activist daughter Bridget, and the adolescent daughter Kassie, as well as Ellie’s sister Beth. After an earthquake reveals an old vault beneath the apartment complex (which used to be a bank), Dan explores it and discovers the Naturom Demonto, an evil-looking book bound in human flesh, along with three records recorded by the renegade priest who had last had that book a hundred years ago. Dan takes the book and the records back home, plays the latter on his turntable, and turns this into a proper Evil Dead movie, with Ellie winding up the first one possessed by the demon it unleashes.

Much like how the remake built its human drama around Mia’s friends staging an intervention for her, so too does this film root its central dynamic in the relationships between its human characters, in this case crafting a dysfunctional yet believable family. Lily Sullivan as Beth and Alyssa Sutherland as Ellie are the film’s MVPs, making their characters flawed yet sympathetic figures whose perspectives are understandable but who both clearly made mistakes in managing their relationship. Beth, an audio technician for a rock band, is visiting Ellie because she just found out she’s pregnant, but is naturally hesitant to tell her sister, given that Ellie sees Beth as a glorified groupie and still harbors some resentment for the fact that Beth wasn’t there for Ellie when her husband left her. News of a pregnancy would do little more than confirm Ellie’s suspicions of Beth and her lifestyle. After all, Beth abandoned Ellie and failed to return her calls, and Ellie readily sees that Beth’s motive for visiting is self-serving even without Beth telling her exactly why she’s there. Ellie herself isn’t blameless in the breakdown of their relationship, though. She clearly has a chip on her shoulder, somebody who sees herself as the more responsible sibling even though Beth is the one with a successful career while she’s living in a run-down apartment struggling to raise three kids after her husband walked out on her.

All of that is heightened when Ellie gets possessed, as the demon, inheriting all of Ellie’s memories, uses them to taunt Beth and go completely mask-off on all the things that she wouldn’t directly say in life, calling Beth a whore and her own children leeches. Not only do we get the metaphor of a family tearing itself apart made literal, it’s here where Sutherland truly shines as not just a working-class single mother but also as the terrifying demonic parody thereof that she turns into, demonstrating what separates the Evil Dead series’ “Deadites” from many other zombies: their sense of personality. The series takes George A. Romero’s already scary idea, that of a ravenous monster that looks human, used to be human, and is able to turn others into similar monsters with just a bite or a scratch, and adds the twist of a demonic component that gives the monster that person’s intelligence and memories as well, which it then uses to torment the people who knew them in life before it devours their souls. While the more comedic direction that the “main” series films and the TV series went in is more iconic, the remake showed that there’s just as much room for a straightforward horror take on the idea of combining a zombie film with a demonic possession film, and this movie takes that idea and runs with it even if it still retains a measure of camp in some of the one-liners and gore gags.

Dan and Bridget’s relationship, too, takes center stage in the second act as they have two very different reactions to the evil book that Dan brought back to their apartment, with Morgan Davies as Dan and Gabrielle Echols as Bridget giving their characters plenty of life and personality. Bridget is suspicious from the word “go”, and when Ellie gets possessed, she blames Dan for unleashing a dark, evil force in their lives, with implications that they had a fraught relationship even before this. Even Kassie, the youngest among them, was good, with Nell Fisher taking a role that could’ve easily turned annoying and making her character feel believably scared without being completely helpless or whiny, getting in one of my favorite lines when, after Beth tries to calm her down and tell her that they’ll be okay, she responds by telling Beth that she’ll be a great mother because she knows how to lie to kids. The only weak link in the cast was the family’s neighbors, who show up briefly early on but all of whom clearly existed as cannon fodder for Ellie to slaughter in a single sequence in the second act, even though some of them felt like they’d wind up more important or at least get more scenes to shine before they were killed. With how little they’re in the film, you could almost feel the pandemic filming conditions, getting the sense that some of them (particularly Gabe and the shotgun-wielding Mr. Fonda) were originally written to have larger roles but they couldn’t find a way to have that many actors on set at once.

Another thing I felt that made up for it, though, was this film’s unflinching brutality. One of the other things that even the more lighthearted entries in this series are known for is their absolute geysers of blood and gore, the fact that most of the carnage is inflicted on zombies seemingly giving it a pass in the eyes of an MPAA that normally slaps this kind of shit with an NC-17 when it’s done to living humans. And here, we get it all. Stabbings, a cheese grater to the leg, somebody getting scalped, an eye bitten out, multiple decapitations, a wooden spear through the mouth, Deadites puking up everything from vomit to blood to bugs, the good old shotgun and chainsaw (this series’ old favorites) taking off limbs, a woodchipper, and some gnarly Deadite makeup, most notably the freakish, multi-limbed monster at the very end. This movie does not play around, and it is not for the squeamish. The only gore scene that didn’t really work for me was one Deadite transformation that was let down by some dodgy effects shots of fake-looking black blood coming out of somebody’s face; the rest, however, was some seriously nasty-looking, mostly practical stuff. That’s not to say it’s just a parade of violence with no tension, though. Director Lee Cronin employs all the classic Sam Raimi tricks that have become staples of this series as much as Raimi’s career in general, knowing when to keep the monsters in the shadows, lurking ominously behind our characters, or coldly mocking them. Ellie especially is a key source of the film’s less bloody but no less effective scares, especially with how she tries to manipulate Kassie into letting her back into their apartment, as are the scenes of characters succumbing to possession and hearing voices in their head taunting them. Once the film gets going – and you will know when it gets going – it never once lets up or gives you much room to breathe, instead maintaining a heightened level of terror and suspense throughout.

The Bottom Line

This was a welcome return to the big screen for a classic horror franchise, especially with how certain plot threads at the beginning and end leave the door open for a sequel that, going by the box office returns this past weekend, is likely inevitable at this point. Right now, the Evil Dead series is five-for-five in my book.