Resurrection Review

Intense paranoia and the return of the source mark Resurrection as a feature that holds within it both fear and intense anxiety. It is a feature that pries at the fear of accepting something that doesn’t feel quite right. Overly sensitive hearts clutched at and pulled apart by those hoping to hold positions of power. This Andrew Semans sophomore piece pairs Rebecca Hall and Tim Roth in what can only be described as inspired casting. Sleek and attractive stars converge in tense and uncomfortable situations that light up the dark desires at the heart of bad people. A past haunts even the squeakiest and cleanest of professionals, as Hall’s work as Margaret displays so chillingly.

But it isn’t an action or interaction that haunts the star of Resurrection, but a third party. Margaret is difficult to like despite the well-worked and clinical lifestyle. A harsh professional that appears to be of the Fleabag variety of lead, not a care in the world for anyone but herself. Sleeping with married men, taking secrets to the grave until they threaten to upend her own cushty style of living. Hall is superb in performing that style. Strange happenings throw spanners into the works, the cogs starting to lock up as the reckless talents of those around Margaret begin to have their impact. A tooth in the wallet, a crackpot appearance. They all mark some solid psychological thriller elements for Resurrection.

It all comes together in the brief scenes of Margaret running, always running and jogging, but what from? Resurrection can hold firm and even delights itself with some more horror-oriented elements. Roth makes for a delightful, uncomfortable appearance. His career resurgence, between this and Sundown, has been a remarkable return to form for the man that just featured in a Pierce Brosnan action movie and a cameo in a husk of a Marvel feature. Resurrection marks not just a return to form for Roth, but another piece in the growing intensity of Hall’s leading roles. Few deserve it more than this pairing, and their efforts throughout Resurrection mark a stunning display of not just their abilities, but the chilling work Semans’ direction can offer when utilised correctly.

Psychological horrors will always depend on the attitude an audience member has to both the characters and the chilling storyline. Within Resurrection is an intensity that comes from the natural and normal, with an effective fear filtered in at the briefest and bleakest of times. An uncomfortable surge comes from Roth’s first appearance and it all depends on Hall’s reaction and the subtle changes that soon burst to the front. How far can one person sprint away from their troubles? Always running. Resurrection is as intense as it is engaging, blurring that great line between atmosphere and boundary-pushing work from an incoming director. Horror encounters are nothing new, but to build on that for the remainder of this feature is as unnerving as it is a subtle commentary on how people perceive themselves as something more, or, in this case, something less. Something untouchable. Hall provides that masterclass with real, explosive skill, and Roth is the fuse.