The town that dreaded Liam
grunts and an uncle who acted as captor. Again and again, we encounter a wilful reluctance to engage in any meaningful way with the past. One particularly resistant interviewee dismisses any attempt to analyse his atrocities as “politics”.
Our hero doesn’t appear to be asking for an apology. He seems merely to want an acknowledgment of undeniable truths. We already knew about the human appetite for evil. The Look of Silence addresses something more slippery and banal: our endless capacity for evasion.
Not to be missed. Triebel’s clever and frequently carnal performance. Working from Julia Franck’s novel Lagerfeuer, Heide Schwochow’s (the director’s mother) screenplay effectively distils the complexity of German border crossing during the 1970s into family drama.
Still, Nelly’s psychological disintegration sees her lose all her empathy, even for her son. The viewer may be inclined to follow suit. LET US PREY Directed by Brian O’Malley. Starring Liam Cunningham, Pollyanna McIntosh, Bryan Larkin, Hanna Stanbridge. 18 cert, general release, 92 min Rachel (Pollyanna McIntosh) is the newest recruit to the local police force in a remote west Highlands town. It does not take Rachel long to make her first arrest; a young ne’er-do- well joyrides into a mysterious bearded stranger, who seems to vanish into the night air.
Things go from weird to weirder when the “victim” (Liam Cunningham) reappears in the local station. We quickly glean that this particular police station and this particular town is populated by all kinds of psychos. Stay tuned for mutilation, cannibalism, mayhem and serious Grand Guignol.
Against this, there is the stranger. Is he the devil? Is he the grim reaper? We’re not entirely sure about the job description, but it’s clear he’s here for some kind of divine retribution.
You’ll have to roll along with Irish directors Brian O’Malley’s debut feature. Just when the viewer thinks things can’t get any more baroque, they do. Just when you imagine the people onscreen couldn’t be more evil, they are.
The bloodwork is ketchup-y. The performances are big. The darkness never ends.
Hobo with a shot at gunning everyone down: Liam Cunningham
Working with wunderkind cinematographer Piers McGrail, O’Malley keeps the carnage coming and images memorable. Steve Lynch’s post-John Carpenter score adds to the crazy.
Let Us Prey won’t be for everyone. But splatter-hounds will get their money’s worth.