Bring Her Back (2025) | Review

If “Talk To Me” was Danny and Michael Philippou’s appetizer of emotional trauma disguised as a horror film, then “Bring Her Back” is their seven-course feast of psychological torment served on a platter of “sweet Jesus, what did I just watch?” The twins have graduated from séance-by-severed-hand to full-blown grief-fueled madness, and folks, I’m here for every hair-raising minute of it.

Sally Hawkins plays Laura, a childcare worker whose grief over losing her adolescent daughter has apparently driven her straight past therapy and directly into “let’s summon an angel via ritualistic horror” territory. The plot follows teenage siblings Andy and Piper (the latter partially-sighted) who, after losing their last living parent, find themselves fostered by the seemingly cheerful but deeply disturbed Laura. They join non-communicative orphan Oliver, who’s already halfway to becoming whatever hellish transformation Laura has planned. You see, Laura has discovered mysterious videotapes containing rituals to summon angels—though as any horror aficionado knows, when you call out to heaven, hell often answers first. Laura’s not-so-subtle plan involves using Oliver as a sacrificial pawn while eyeing Piper as a replacement for her dead daughter Cathy (who was also partially-sighted—coincidence? I think not!).

The setting itself deserves top billing alongside the cast—a secluded home featuring the most ominous empty swimming pool since “Let the Right One In.” This isn’t just any pool; it’s practically a character unto itself, a concrete void at the center of Laura’s life that mirrors the emotional emptiness she’s desperately trying to fill. And don’t get me started on that locked shed—a horror movie staple that screams “nothing good happens here” with the subtlety of a chainsaw through a bedroom door.

Two-time Oscar nominee Sally Hawkins delivers a performance that deserves another nomination and possibly an on-site therapist. She transforms from “Paddington’s” sweet-natured neighbor to a woman whose motherly demeanor masks an abyss of unresolved grief. It’s like watching Mary Poppins slowly morph into Carrie’s maniacal mom—practically perfect in every terrifying way.

The young cast matches her intensity beat for beat. Billy Barratt as protective brother Andy gives us major “someone please listen to this kid before it’s too late” energy, while newcomer Sora Wong as Piper delivers a debut performance so nuanced it’s hard to believe she never acted before. Seriously, where did they find this kid? (Actually, it was through a Facebook ad!) She navigates the horrors of both supernatural terror and teenage independence with equal conviction. And then there’s Jonah Wren Phillips as Oliver, a child whose deteriorating appearance gives Regan from “The Exorcist” a run for her pea soup money. This kid doesn’t just play creepy—he embodies the kind of disturbing that makes you want to check under your bed for days afterward.

If you’re the type who watches horror movies through splayed fingers, prepare to lose sight of the screen entirely at several points. The practical effects are gloriously gooey—think “Dawn of the Dead” meets “Hereditary” with a splash of “Dr. G, Medical Examiner.” The Philippous clearly subscribe to the philosophy that if you’re going to gross people out, you might as well commit to it with the enthusiasm of a toddler finger-painting with spaghetti sauce.

“Bring Her Back” isn’t just a horror film—it’s an emotional exorcism disguised as entertainment. The Philippou Brothers have created something that burrows under your skin and sets up residence in your psyche like an unwanted houseguest who keeps rearranging your furniture while you sleep. It’s a slow-burn that eventually erupts into a five-alarm fire of “what the actual hell am I watching?” This film has some shades of the dark rituals shown in “House of the Devil” (2009) and “Bring Back the Dead” (2015).

Is it perfect? No. Some elements make about as much sense as a Uwe Boll plot. But this isn’t a film that’s trying to win awards for logical coherence—it’s a mood piece that prioritizes emotional gut punches over narrative tidiness.

If you enjoyed “Hereditary,” consider “Bring Her Back” your next emotional trauma appointment. Just maybe don’t watch it if you’ve recently lost someone, unless your idea of grief counseling involves screaming into a pillow for several hours afterward.