Evil Dead Burn review: The franchise’s latest plays with fire and gets burned

Horror movies that roll out in summertime raise red flags. Opting to contend during blockbuster season instead the fitting fall hosting Halloween could be confidence or circumstance. Franchise creator and original director Sam Raimi remains just a producer this round, as director Sébastien Vaniček and co-writer Florent Bernard use Evil Dead Burn to cast a new lens on the classic. Grappling with the sudden death of a son/brother/husband, a family structure turned inward is poised to crumble in the face of impeding evil with a score to settle.

Since collaborating on Infested, Bernard and Vaniček link back up for this no limit reimagination. Honest in their drive for a fresh twist, the filmmakers desert campy elements which distinguished previous Evil Dead’s’style and tone. A shattered mom (Tandi Wright), a senile grandmother (Maude Davey), younger brother Joseph, (Hunter Doohan) and a patriarch, (Erroll Shand) propelled by remorse are a grieving household at odds. Widowed Alice (Souheila Yacoub) is out of her comfort zone, compelled to mourn alongside her in-laws in the ashes of her undesirable marriage. Despite his mother wishes to dispose of his mysterious grandfather’s artifacts and writings, Joseph explores them. He discovers cryptic knowledge of the Deadites’ quest for The Book of The Dead, holding power to summon the devil.

 Inescapable impression the story is in a rush

Evil Dead Burn doesn’t seem concerned with building much tension or suspense, diving right into the demonic carnage. Maybe I’m echoing a grumpy old man grumbling how ‘it was done right in my day’, but horror used to aim and succeed at constructing gripping moments, enhancing dread. At the opening, that approach is tossed roadside while everything else speeds ahead. The genre isn’t known to rely on star power for box office success or critical praise, but a less recognizable cast delivering impotent dialogue chips away at the story’s skeleton. A birthday party introduces the primary players; set in a nightclub, it’s up tempo and chaotic. Telling too much too quickly, the dynamics between the characters fail to ring familiar or believable. 

 Set design and direction bring tangible imagery

Solid camera work is a standout. Crisp framing complimented by finessed cuts grounds things. Filmed on location in New Zealand, all the flames on screen are products of actual fires, bucking any notion of diluting a key component. An up-to-snuff sound design inflicts audible torment with every scream and drop of blood. Including Evil Dead II character Raymond Knowby, grandfather of Joseph, adds a rich layer to the family theme while establishing relevance to the greater saga. 

Sadly, cheap thrills pose in place of constructed fright. In line with many of its’ contemporaries, Burn is more a gorefest than traditional selections, leaning on grossing out audiences rather than spooking them to the edge of their seats. The non hardcore-horror consumers could exit theatres deluded, but no doubt Evil Dead Burnwill serve avid addicts their fix.