| Director(s) | James Wan |
| Principal Cast | Annabelle Wallis as Madison /Emily Maye Maddie Hasson as Sydney George Young as Detective Shaw Michole Briana White as Detective Moss |
| Release Date | 2021 |
| Language(s) | English |
| Running Time | 111 minutes |
| Report Card | Click to go to Review TLDR/Summary |
NOTE: This is a new release and the review is based off a theatre viewing. This means the review won’t feature common elements like visual analysis, extended theme analysis, or long-form discussions of the cinematic techniques being used. Once I am able to get a copy of the movie to watch, pause, analyze, and get stills from the review will be updated to match the current site’s standard.
It’s hard to believe that a storyline involving a psychic monster capable of brutally murdering scientists, inept help from the relevant authorities, a woman who has psychic visions of a black-robed murderer who contorts and viciously slices apart its victims, and meticulously crafted murder set pieces is the basis of a James Wan horror movie when it feels like something plucked out of Dario Argento’s giallo playbook, in particular his fever dream film, Phenomena. In other words, the movie is a showcase of spectacle; the point is not the narrative but the audio-visual journey. Extravagance matters more than plot, which functions more as a vehicle for Wan to canvas off of. He’s always been a stylistic director, but Malignant showcases the height of his visual prowess; it’s an absolute treat to behold.
The movie starts with a small taste of things to come as the walls of a institutional facility are drenched with blood. Dr. Florence Weaver (Jacqueline McKenzie) escorts a group, which includes an officer with a gun, towards a room where people are flung out with bloody aplomb. She instructs them to shoot the patient, Gabriel, who is causing all the issues. The group suffers heavy casualties, but the nature of Gabriel along with his powers is left to the viewer’s imagination as the film cuts to twenty-eight years later.
A woman, Madison (Annabelle Wallis ), argues with her husband, Derek (Jake Abel) over the nature of her pregnancies, which seem to always terminate in miscarriages. He viciously attacks her for inability to conceive and beats her against the wall, causing the back of her head to bleed. Madison locks the door to keep safe from her husband, but then nighttime comes and a shadowy assassin makes its presence known. Its form is just a shadow creeping, and Wan teases the audience slowly with its presence before letting the violence continue; the husband is stabbed with no hesitation before Madison herself is thrown on the floor.
She wakes up at the hospital where she reunites with her sister, Sydney (Maddie Hasson). We learn that the siblings haven’t had contact with one another due to Derek’s controlling nature; he stopped Madison from reaching out. Thus, the black-coated figures first kill marks the end of the estrangement between Madison and her sibling and the start of her journey to move past and overcome her trauma at the hands of abuse.
However, later at night, Madison realizes that after this attack she’s now linked to the black-coated figure and can see the murders committed by the figure as they’re happening. These psychic drop-ins, which feel like the pensieve from Harry Potter and the Goblet of Fire, feature the walls around our protagonist dissolving and reforming around her. Within crisp and fluid shots, Madison is transported from wherever she is to the scene of the next assault. Desperate to figure out the reason for this connection, she tasks Detectives Shaw (George Young) and Moss (Michole Briana White) along with Sydney in an race against time before the killer is allowed to strike again.
Wan said he wanted Malignant to be his take on giallo and the film more than delivers a set-up let lets him have fun. [1]Navarro, M. (2021, September 1). “My version OF GIALLO”: James wan lets us know what to expect from his new horror Movie ‘Malignant’ [Interview]. Bloody Disgusting! Retrieved … Continue readingThere’s a mysterious killer in possession of a distinctive weapon, brutal murders, a race to figure out the identity of the murderer, and law enforcement characters who are meant to help but who actively inhibit the protagonist while bumbling around. However, penchant of any great gialli, like the ones made by Argento and Bava, is to structure the violence with great care around fluid and dramatic camera moves which transform the macabre into the sensational. Malignant nails all of this and more. The plot moves along at a pace that keeps the audience invested until a reveal 30 minutes before the ending which then ratchets the film into an utterly enthralling cinematic experience that any fan of sensual cinema should watch. It’s entirely unpredictable; even if you guess one element of the way events will unfold, the entirety of the combined threads is something that can only be described as Shymalanesque in the best possible way.
Wan, who has always been stylistically talented, is allowed to push the boundaries on his own patterns. While the movie starts slow with some of his trademark sequences, like a tense overhead tracking shot which follows the characters as they navigate a household à la The Conjuring and The Conjuring 2, it really starts to show its hand once Madison is allowed to “dissolve” into the psychic visions that she’s made to see. The transitions are as evocative as the murders which follow and serve a purpose in delineating the contours of Madison’s psyche. As the film continues and Madison is allowed to explore the connection, its visualization changes in ways to reflect the same.
However, what pushes Malignant over the edge is the vitality and fury by which Wan shoots some of the larger set-pieces, moments which blow out scenes from even movies, including even Wan’s own Aquaman. The camera is an assassin and follows the path of blood and carnage with surgical precession. Every blow is brutal. Every slice is sinister. Every moment is an extension of the dance of the fabulous blood-bath. He lets the impact of the ferocity sit with the audience as the frame sticks on the murders unbroken. There may be a lot of the stereotypical horror movie teasing with the slow set-ups and the disappearing shadows, but the pay-off is bloody, excessive, beautiful, and utterly worth every moment in wait – a carnivalesque celebration of blood and splatter.
The supernatural slasher often takes place in rooms lit by rich reds and glowing greens along with rooms dyed in shades of dark blue and pockets of darkness. Often times, the camera glides from one room to another, swinging between colors in a way to accentuate the visual momentum of the spectacle occurring. Even though some of the needle drop moments feel like they could have been timed to synch up with the emotional intensity of the film a bit better, most of Joseph Bishara’s electric score fulfills what it sets out to do – provide a companion to the visuals that can match their energy. Many of the tracks inject a head-bobbing energy that add a fiery intensity to the scenes. The combination of both elements creates dynamite film-making that serves as proof that some things have to be seen on the big screen to be experienced in their full glory.
While there are some plot issues here and there, the muscular film-making put on display by Wan is more than worth witnessing for fans of the genre and for those people looking for a off-the-walls story to have fun with. It’s more than just stylistic homage. Malignant is a celebration of sheer and utter excess in the best of ways. It’s the best of Wan’s artillery amplified to the next level – truly bravura filmmaking.
REPORT CARD
| TLDR | Since his horror debut with Saw, Wan has put out some of the most well-loved horror classics. Insidious galvanized a new-age of horror fans and The Conjuring confirmed that his arrival was no fluke. Malignant is a confirmation of the director’s potential and showcases some of the highest highs in his oeuvre as of yet. |
| Rating | 9.0/10 |
| Grade | A |
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