Hereditary - Review Thread

Though the horror genre is probably the most maligned by critics overall, each year we seem to get one or two films each year that send these critics into an uproar. The films typically lean on being atmospheric horror, never pure slasher fare, and critics are apt to praise the films feeding off tension through its multi-layered characters and ideas far more than cheap scares and gore. In previous years it's been the likes of The Conjuring, It Follows, and The Witch to name a few of the standouts, and this year we've already been treated to two critical darlings in the genre; A Quiet Place a couple of months ago and now the latest movie, Hereditary. I'm not sure how much horror critics watch outside of their occupational obligations to do so, and I think most would rather not even then, but it does seem like when one of these positively received horror films come around we're subjected to the same old anecdotes of "as scary as The Exorcist" or "this generation's Jaws" or whatever form of hyperbole they like to throw out. I don't think any of the recent films I've mentioned are truly horror classics in the sense that they're on the same level as The Shining or Alien or any other host of the usual heavy hitters in the horror game, but I've thoroughly enjoyed each of them for bringing style and a reliance on storytelling as opposed to gimmickry that does plague the majority of contemporary horror films. Hereditary is the latest to garner that praise, though The Exorcist comparisons are a bit easier to swallow given the similarities going on here (though... not really), and it's going to be a movie that's as polarizing if not more than A24's previous horror hit, The Witch. As someone who thought The Witch was a breath of fresh horror air, I found Hereditary to be definitely superior. It's a film that builds its tension not so much on the paranormal happenings surrounding the family, but on their own internal demons that are finally being pushed out into the open following the multiple tragedies they have to come to terms with. Some horror film purists will undoubtedly sneer at another A24 arthouse horror movie, but this is an expertly made film on every level, especially bolstered by the stunning cinematography, use of miniatures, and an award worthy performance by Toni Collette.

The film centers around the Graham family, and we open on them getting ready to attend the funeral of the enigmatic mother of Annie (Toni Collette), her estranged daughter who isn't subtle about her lack of sadness over her mother's passing. In fact the entire family seems unperturbed by the death, save for Charlie (Milly Shapiro), Annie's daughter who was the only member of the family to form a bond with her grandmother. Annie though is frustrated by her mother even in her death, blaming her for being cruel and distant and placing a strain on her own relationship with her children. Annie makes miniature models and is damn good at it, and while I'm not entirely sure what the symbolism of the constant miniatures in the film represents, part of me believes that it's one of the few parts of her life that she feels she can create and control. Rounding out the rest of the family (all of whom are superb here) are Annie's rational thinking husband, Steve (Gabriel Byrne), and her son Peter (Alex Wolff), the latter of whom Annie has an intense relationship with due to a "sleep walking" event some years ago that they never reconciled over. The family feels real, their quiet inner turmoil steadily building throughout the film that makes the comparisons to The Exorcist feel more like it should be with The Ice Storm. After another tragedy for the family, Annie meets Joan (Ann Dowd), who offers Annie a solution we all know is a terrible idea; a seance to reconnect with her departed. While the film has certainly been filled with terrific tension and bouts with classic horror disturbing, the movie takes off from here and only gets more intense until it reaches its startling, polarizing, wild climax. This is a film, like most horror movies, that will not work for everyone, and it's a bolder horror film than what we generally receive in the mainstream, but for those that enjoy losing themselves in a film succeeding on nearly every level and that refuses to compromise, Hereditary is a delightfully wicked summer movie.

Though there is a lot to praise here, the standout of the film is easily the astounding performance by Toni Collette. She provides a masterful range here, and while at times I wasn't sure what to think of Annie as a person or mother or wife, I could feel her crippling sadness and her desperation to feel some form of positive control in her life. She's hysterical, angry, mean, loving, and lost throughout the film, and Collette's ability to move back and forth between these intense emotions and situations is pretty amazing. She's mesmerizing to watch, and Annie's progression when the film takes its more sinister turns isn't quite what you'd expect. Yes, Hereditary is a horror film that's firmly entrenched in its paranormal leanings, but what makes the film work so well is Annie's self-loathing at her inability to connect with her children, unable to right the wrongs done to her by her own mother. I can't divulge much further without risking spoilers, but I don't think it's too early to suggest that Collette should be in the running for an Oscar for her performance. She's that phenomenal here.

Another element of the film that's worthy of praise is the cinematography. I don't think that we give horror films quite their due when it comes to this often enough, which is odd since horror films arguably rely on their framing and overall look more than any genre does. Hereditary has a lot of slick camera work up its sleeve, though none of it feels inorganically showy. The work here by DP Pawel Pogorzelski is highly effective at playing with shadows, lingering on character's faces in uncomfortably tight close-ups that would make Carl Dreyer and Ingmar Bergman proud, and of course his ability to frame the action in foreboding wides when the action heats up. Most of all though is his handling of the miniatures, especially the opening shot of the film as we track through what we think is a home, then we think is a miniature, then we think (know?) is the home. Again, I haven't completely grasped all of the symbolism related to the miniatures (though I have some ideas), but even on just a surface level of being a cool aesthetic to put into a movie it succeeds greatly. The recent horror films embraced by critics also had some wonderful cinematography on display, and in my opinion Pogorzelski's work in Hereditary stands above them all.

Though I hope some people have read and enjoyed my review, Hereditary is certainly a movie where the less you know the better. While at times the plot can feel familiar and even gets a little too complicated late in the game, I was completely absorbed during the entirety of the film. There's no wasted time here, even when the movie is displaying its comedic side (there are parts of the movie that are genuinely hilarious) or showing the family going about their routines. There's a constant tension from the opening frame, something very hard to pull off without risking audience fatigue. Whether you're into the unraveling mystery, the incredible performances (especially by Toni Collette), or the many disturbing scenes this horror flick has to offer, Hereditary has a lot to offer. It's a film that not just works but succeeds on so many levels, and a film that still has me dwelling on its nuances a day after viewing it. Some might be turned off by the ending, or the film's overtly sinister tone throughout that never wavers, but anyone looking for a layered and expertly crafted horror movie won't do much better than Hereditary.

8/10