When the Philippou brothers released Talk To Me, I thought they were an exciting new voice in horror. With Bring Her Back, they’ve proven they’re more than promising—they’re the real deal. This film feels like something I wasn’t supposed to see, like cursed footage meant to stay buried, and that uneasy, forbidden quality never lets up. Even in its quieter moments, the tension is thick and unrelenting.
At just 99 minutes, the film doesn’t waste a second. It builds a twisted world, yet never bogs itself down in endless backstory or lore. Instead, it gives us only the vaguest details about the occult ritual at its center. I ended up loving that choice—it keeps us right alongside Andy and Piper, who are themselves lost and terrified, barely grasping what’s happening. Their perspective makes the dread more immersive and the horror more unpredictable.
The practical effects deserve special mention. While modern CGI can do almost anything, there’s nothing quite like the raw, visceral impact of physical effects. More than once, I squirmed in my seat or turned my face away, even as I couldn’t stop watching. It’s that uncomfortable balance of fascination and revulsion that great horror thrives on.
But what surprised me most is how much heart lies beneath all the terror. Bring Her Back is about grief, love, and trauma just as much as it is about rituals and possession. Every character is carrying deep wounds, and the film shows how those wounds twist into something dangerous and horrifying. That emotional weight elevates the story, making it more than just a collection of scares.
The performances push it over the top. Sally Hawkins is mesmerizing. I’ve always known her for sweet, gentle roles, but here she’s terrifying—a foster mother consumed by grief, switching between warmth and cruelty with frightening ease. Even when she’s at her most monstrous, there’s a sliver of sympathy that makes her character impossible to dismiss. Billy Barratt grounds the film as Andy, capturing the messy reality of grief, resentment, and love in a way that feels raw and authentic. Sora Wong, in her first major role, is equally impressive as Piper. She’s sharp, resilient, and instantly lovable—never just a victim, but someone we root for. And Jonah Wren Phillips as Oliver? Easily one of the most unsettling child performances I’ve ever seen, with a primal intensity that sticks in the mind.
What I appreciated most is that Bring Her Back doesn’t lean on cheap jump scares or gimmicks. It’s not interested in easy thrills. Instead, it builds a world of unease, turns expectations upside down, and forces you to sit with the horror of grief until you can’t look away. By the end, I felt shaken, unsettled, and oddly moved.
Bring Her Back is proof that horror is alive and thriving, capable of being both terrifying and deeply human. For me, it’s already a modern classic. And honestly? I can’t wait to see what the Philippou brothers create next.
Are you a fan of Bring Her Back? Let me know what you think in the comments below.
Cheers,
Matt.
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