Directors Michael and Danny Philippou crafted an engrossing terror with their 2022 feature debut, Talk to Me, that made many wonder if new horror visionaries had arrived. Now, with Bring Her Back, that destiny is solidified, as the film offers a skin-crawling exploration into trauma that eats at your soul.
It follows Andy (Billy Barratt) and his visually-impaired step-sister Piper (Sora Wong) as they’re forced to move into a new home after their father’s gruesome death. However, their new caretaker Laura (Sally Hawkins) has dark secrets that threaten Andy and Piper’s relationship and pull them into a terrifying ritual with horrific consequences. Bring Her Back immediately gets in your head, with tons of mysterious threads you can’t help but pull on. As soon as they arrive at Laura’s house, there’s a suspicious white line seen all around the property with an unclear, yet ominous purpose. Laura herself boasts plenty of red flags—ranging from some odd home decor to her alienation of Andy despite an overly friendly approach. Then, as Laura talks about her daughter’s death and introduces her mute foster son Oliver (Jonah Wren Phillips), there’s an unshakable chill that washes over you. Even as the Philippou brothers add some humor to lighten the mood, the eeriness of everything only grows as the film digs deeper into the horror at hand.
Honestly, after penning Talk to Me, it was tough to think that Danny Philippou and Bill Hinzman would just immediately write another crafty banger. But their storytelling is on another level with Bring Her Back, as they create many satisfying revelations. Often, the film presents strange situations, like Andy’s personal struggles or Oliver’s concerning behavior, that have a seemingly clear cause. Yet, Philippou and Hinzman find excellent ways to pull the rug out from viewers by having well-executed, shocking reveals. Seriously, there are some real jaw-dropper realizations that change your perspective and establish a daunting sense of control that’ll have you sinking deeper into your seat. The use of these cursed-feeling VHS tapes also acts as an excellent storytelling tool that peels back the layers of Laura’s intentions and adds some creepy lore to the film’s take on possession and resurrection.
Between all the slow-building terror and unsettling tension, Philippou and Hinzman also craft a highly emotional narrative surrounding trauma. Now, trauma is definitely an overused theme in supernatural horror lately and, admittedly, Bring Her Back doesn’t bring too much new to the table. It’s the type of personal meditation that has a familiar bite and can lead to predictable conclusions. But the film’s depiction of trauma is so well-handled that there’s plenty of fresh territory to be found. The sibling relationship between Andy and Piper carries such a loving honesty that’s admirable and makes for some heartwarming running threads between them. There’s an idea of what happens after death that Andy shares with Piper that leaves such a big impact and makes the film’s final moments a total heart-melter. Honestly, it’s sometimes nice to just see these characters be vulnerable. It unearths some raw horror and heartbreak viewers will deeply connect with and makes some of their actions hit so much harder. There’s a scene where Andy pleads with Piper over the phone that’ll have audiences in tears and it’s a testament to the emotion this film taps into.
However, the most captivating part of Bring Her Back is undoubtedly Laura, because Hawkins’s performance and the magnificent writing behind her make her a perfectly complex villain. Since her performance in The Shape of Water, Hawkins has mostly been relegated to quieter supporting roles. Here, though, we see a totally different side to her ability, as she thrives in Laura’s “whatever it takes” mentality. There’s a shifty, controlling nature to Laura that evokes the mental domination of Nurse Ratched — and it results in some devastating ripples. Her persistence in making Andy a perceived problem is downright vile at times, and the more you learn about her relationship with Oliver, the harder your stomach twists in disgust. However, there’s also this damaging desperation within Laura that slowly seeps out of Hawkins’s performance and its where the writing and acting mesh together beautifully. It’s this quality that brings out complexity in Laura’s grief and her plans to right a wrong she suffers from that make her one of the most captivating horror villains in recent memory. Plus, you’re hooked on her every move right through the film’s “all hell breaks loose” final act.
If you thought the grisly bloodshed in Talk to Me came out of nowhere and left a mark, Bring Her Back tears viewers to shreds. The entire last act basically sees the monsters within these characters fully come out to play, and Oliver easily takes the sharpest turn. There’s some gnarly gore that’s so visceral and carnivorous that they’re probably the most nauseating visuals I’ve endured since Julia Ducournau’s Raw. Laura’s depravity reaches an all-time low and causes some wildly vicious and heartbreaking deaths. Honestly, the entire film becomes a nerve-shredding watch where the Philippou brothers play with your emotions and fears. When it comes to Piper, they actually use her impairment to create horrific contrasts where audiences see danger that she can’t—which instantly ratchets up the tension. It all builds towards a conclusion that leaves viewers in a state of awe at some of the haunting visuals and crushing ends these characters are left with. The final shots are sheer perfection in how they crudely conclude this story and make it so this film leaves a burning mark that doesn’t fade.
Against all odds, lightning strikes twice for the Philippou brothers as their sophomore effort is just as stunning and gripping as their debut. Bring Her Back is a phenomenal showcase of their prowess in creating these daunting yet resonant horror stories as well as a showpiece for Hawkins’s range as a complicated foe. It’s easily the best horror film of 2025 thus far and one of the best, “must see immediately” films as well.
