Evil Dead Burn introduces a new, bloody, isolated world of flawed characters, familial tragedy, and a latent cult prehistory, which summons the Deadites that clash with existing conflicts. A part of the Evil Dead franchise, like the previous film, this sequel acts as a stand-alone with different stakes.
The Evil Dead franchise custom setup follows ordinary people who unleash Kandarian demons by reading from ancient Sumerian texts. The previous film, Evil Dead Rise, ended with a possessed Deadite who then returns at the beginning of Evil Dead Burn.
In the hands of French filmmaker Sébastien Vaniček, Evil Dead Burn is a cross between horror and grief, tasting spicy and sour at the same time.
A lack of care for characters
In contrast to its predecessor, the family dynamics and individual arcs in Evil Dead Burn feel insipid, and unfortunately, it fails to follow the heartfelt connection it vilifies in its grieving world.
Having watched 2023’s Evil Dead Rise, I cared deeply for the characters, their circumstances, and their future. What separates Evil Dead Burn from Evil Dead Rise is its interest in how the audience cares for the soon-to-be victims. In this film, you’ll have a difficult time finding that compassion.
Heated arguments and toxic relationships are already present before the audience can settle into the story and become comfortable building sympathy. Souhelia Yacoub’s Alice and George Pullar’s Will share a toxic love story that undoubtedly drives the film with its heavy weight. However, the audience is dragged headfirst into this mess and left to justify the instant hostility in order to validate the rage that ensues later on.
“Who are these people, really?” has yet to exit my mind.
In the first few minutes of the first act, you’ll feel lost and confused as a fish out of water placed in a rushing current you cannot control. The familial tension and tragedy Vaniček advances into the story isn’t the flaw: it’s the instantaneous drama that gives you a headache. Still, this abrupt friction between toxic couples—and siblings, even—doesn’t outweigh the familial grief that drives absurd decisions and reveals true motives.
Grief does weird things
Normal funerals are simple. Many groups of families and friends attend. Sobbing and screaming are a part of the ceremony. Emotional speeches are given by loved ones. Oh, and the service happens without disturbing noises because that will break the peace.
Well, in this film, the mourners break the peace before anything else does, like the construction work drowning out the sterile eulogies at Will’s funeral.
Only 7 people are present at Will’s service, whose body is near cremation. But why are there only a few select people there to mourn Will? There is more history to this hate, and it goes nowhere, which will be discussed later. Besides the burned body lying in the coffin, in the middle of it all is a furious dad, a strangely obsessed mother, a confused brother sitting next to his vexed girlfriend, a forgetful grandmother, and an indignant ex-wife who is provoked by every biased opinion of her marriage with Will.
After the service ends, Erroll Shand’s Edgar decides it’s best to silently sob over his son’s casket alone in the private preparation room. So, he does, and he’s at the edge of the exit when he hears a bang coming from inside the casket. His desperation doesn’t rescue him, nor does Will, whom he believed to be alive, and this is where the Deadite infects Edgar.
Grief, trauma, and anger are also evil entities; they drive questionable behavior. It would’ve been left at silent tears, an unhealthy family lunch, and one Deadite to kill if it weren’t for the self-serving brother and mother, and the ex-wife who releases necromancy remains otherwise unknown.
Sébastien Vaniček cooked his familial themes at a decent temperature because it sounds familiar and feels tense. Even if you’re not close to the characters, this family pettiness tastes good in a way that makes you ask for more. Vaniček understands that horror won’t always succeed with just jump scares and gory scenes.
In his film, horror succeeds through exciting drama, comedic humor, grandma jokes, and disgusting kissing scenes unified by bloody saliva.
Absent prehistory of the ‘Wisemen’ cult
We’re introduced to Hunter Doohan’s Joseph before the inciting incident, where a writer who is listening to demonic rituals and reading an open book with evil-spirited pages. The scene becomes quickly apparent: a writer is reading the Book of the Dead. Okay. This horror film can go one way: a writer reading a book to inspire a story idea that ultimately brings evil onto him and anyone close to him. But as we go deeper into the act, we find ourselves with one changing detail: the Book of the Dead is his grandfather’s, who happens to be in a cult.
Vaniček brings in this cult history for his audience to validate his demonic infliction on the family, but does so with little to no information. Yes, fans are aware of the troubles the book unleashes, but in this sequel they’re also challenged to understand the “Wisemen Cult.” Vaniček sprinkles some context here and there, but it’s not enough. The grandfather’s dark past is undermined, and it’s evident in the two-minute conversation Alice and Hunter have regarding the occult research Joseph has been doing.
Vaniček doesn’t shy away from the franchise’s strengths, but unfortunately, the strengths then become a weakness. It would’ve been darker if the past of this cult were exposed, and while it may take away the fun and drama, it lacks historical details. Also, I wouldn’t doubt the reason for this cult history dump was to make a point of why the Deadite “chose Will’s family.”
Vaniček doesn’t make it clear whether Will was just an unlucky passerby or if he was intentionally chosen because of a broken family tree.
What’s Next?
If you think there won’t be any more Evil Dead movies, then you’re sadly mistaken. There’s always something in the end lurking: someone’s still alive, or they end up dead, which is why it’s important to stay until the movie is completely finished. There’s a mid-credit scene and a post-credit scene that set up the future of the franchise; however, it’s unclear if it brings a connection to the upcoming installment in 2028.
The 2028 film will be a prequel titled Evil Dead Wrath, and it is set to release in theaters on April 7, 2028. It’s a historical departure from the franchise and is set nine years prior to the events of Sam Raimi’s original 1981 The Evil Dead. The production has already wrapped, and it features franchise veterans Sam Raimi and Rob Tapert, who are producing, with Lee Cronin and Bruce Campbell serving as executive producers. This installment is written and directed by Francis Galluppi.
Evil Dead Burn explores trauma in an isolated family’s remote home, and it’s fun and exciting in some moments but also dizzy and frustrating in others. Vaniček is a fun writer and director, and he has good music taste and humor for sure, but this film is not the best installment.
Evil Dead Burn is playing in theaters now.
GRADE: B –
