[SXSW Review] ‘AZRAEL’ an artfully made on-the-run thriller that gets lost in the woods

AZRAEL

Director: E.L. Katz
Cast: Samara Weaving, Nathan Stewart-Jarrett, Vic Carmen Sonne, Sebastian Bull, Eero Milonoff and Katariina Unt
Premiered Mar. 9 @ 9:30 p.m. at the Alamo Drafthouse South Lamar with encore screenings on Mar. 11 and Mar. 14..

AUSTIN, TEXAS — You know you’re about to step in it when a screenwriter introduces their film by saying that the reception of its previous screening was just “OK.” I became nervous because I’m a fan of writer Simon Barrett’s (The Guest, Seance) work, as well as the work produced by director E.L. Katz (Cheap Thrills, The Haunting of Bly Manor) and star Samara Weaving (Ready or Not). 

At the same time, that’s Barrett’s humor. He even joked about why people would want to wake up early to watch this kind of film, one that’s not shy about disemboweling characters and seeing zombie-like creatures feasting on noses and necks. I didn’t let that comment drive me through the film and tried to take something unique from it instead. Perhaps Barrett wanted to strip away my expectations so I could have a fresh perspective.

Despite all the talent involved, Azrael is an unfortunate case of half-baked ideas and senseless characters consuming a horror-thriller that had the potential to be so much more. 

Azrael is set many years after the apocalypse. A cult of mute zealots is searching for a young woman named Azrael (Weaving) who escaped imprisonment. They plan to sacrifice her to an ancient evil that lives deep within the surrounding wilderness. However, Azrael is determined to survive and will (somewhat) do whatever it takes to avoid her fate. This leads to a violent and revenge-filled confrontation that could end in a bloody showdown.

On paper, this sounds like the popcorn midnighter to get you amped up. There are some elements within that show promise, such as some creepy and unpredictable creatures that appear burnt to a crisp and a Rosemary’s Baby/When Evil Lurks aspect about giving birth to evil. However, these bits are clouded by characters who don’t seem too determined to live and navigate themselves only by luck. They do not take advantage of their surroundings, such as using nearby sticks or bones as weapons, and instead, run themselves into dangerous corners. If the intention was to write these characters as people who are in over their heads, at least give them some sense in their trying or a process that makes you think they thought somewhat ahead, like Jeremy Saulnier’s Blue Ruin or Green Room. Or, at least, maybe not have them fall victim to the same trap over and over.

All too often, Azrael is a frustrating experience that has you shouting, “Why are you doing that?” – “Um, there could be weapons in that truck. Maybe check it out!” – “You’re going to wish you killed that person when you had the chance (twice) because they’re going to come back. They ALWAYS come back!” – “I understand that you’re trying to create a journey where the characters learn along the way, but you’re living in a world crowded with flesh-eating crispy people who can smell blood like sharks. Maybe be a little more cautious and prepared for the worst to happen at all times.” – “And do you really love that person because you’re not making much effort to save them.”

There is so much more this film could have done to make its cooler, more stylized moments land with impact. The last shot is especially worth hanging on a wall, but ultimately, it’s not enough to recommend the entire movie. Instead, try Mike P. Nelson’s Wrong Turn remake for a wild ride featuring crazy woods-people.

Grade: D