Danny and Michael Philippou’s Talk to Me took horror fans by storm in 2022 and, for most, it just felt like a huge force of horror ambition came out of nowhere. The Philippous have had their roots embedded in horror and comedy with their RackaRacka skits back in the day and considering how well done they were, those that saw those videos could see this was just apart of their career trajectory. These brothers are horror fans through and through, and that shines through in all of their projects. Talk to Me was a perfect debut because even if the film itself had some slight shortcomings, its confidence and craft was enough to catapult them straight into the current horror conversation. It was a relatively safe film and was definitely made as a crowd-pleaser, but that is not to its detriment, by any means. It follows a lot of classic horror themes and follows horror tropes, but it feels like it is using them elements out of love rather than just trying to ape other successful films. Even with everything that could be considered derivative though, there was one thing about Talk to Me that stuck out amongst most contemporary mainstream horror: it is unforgivingly bleak. There is a dark and evil vibe to that film and its downward descent into complete hopelessness is what really makes it click, propelling the Philippou’s as one to watch. Honing that energy and having a more polarising approach to their filmmaking, they have finally released Bring Her Back in the UK, and it is easily in the top horror films of the year so far.

Bring Her Back follows step-siblings, Andy (Billy Barratt) and Piper (Sora Wong), who, after the death of their father, are submitted to foster-care. Piper is immediately due to be taken in by Laura (Sally Hawkins), but due to her visual impairment, Andy insists on going with her until he can apply for guardianship once he turns 18. Laura takes them both in and the siblings are on their guard due to her eagerness to take them in. Laura reveals that her own daughter, Cathy, died not too long ago and the presence of other foster-child, Ollie (Jonah Wren Phillips), confirms that she is trying to fill that absence as much as she can. However, Laura’s antics get stranger and stranger, constantly demeaning Andy and emasculating him to make him believe that he is not fit to look after Piper. Her weird relationship with Ollie also sets off some red flags, especially considering it seems she never feeds him. Lies and manipulation follow, trying to put a wedge between the siblings, and it becomes clear that Laura’s secrets are full of sinister intent.

While Talk to Me was more of a typical, gimmick-driven supernatural-horror film, Bring Her Back is a much different approach. Not relying on cheap jumpscares or loud noises to scare the audience, instead it is focused on tantalising tension and wincing body-horror, with some slight supernatural elements sprinkled on top. Not since The Substance (2024) have I been as grossed out and as on edge for how each scene was going to escalate. And that is the crux of why the body horror works so well; it is all in its escalation. The film begins with some eerie VHS footage, that contextualises Laura’s plans later on, and that is the perfect hook. It is not particularly gnarly, but the vibe of what we are seeing is sound enough to keep us intrigued for the narrative, and, trust me, there is gnarlier stuff on the way. The big body horror scenes come later on and they just get harder and harder to watch. One scene featuring a cantaloupe and a knife, really kicks the horrible happenings off. They just get worse, in the best possible way, and some later scenes will have your head in your hands. What works best with the body horror though is that none of it is too far out of the realms of possibility. Knives being in places they shouldn’t be, skin being peeled off, these are all things that can just happen, as opposed to the over-the-top nature of The Substance. They are films that serve different purposes and for Bring Her Back‘s more reigned in and primarily subtle narrative, the body horror matches the vibe to a tee.

If there is one thing that cements everything together in Bring Her Back to make a full concise package, it is the excellent characters. In typical horror fashion, their stories are laced in trauma and grief and while that might make you yawn in disapproval, it is done very well in some subtle ways, as well as those more obvious too. Laura is an often devilish character but her bewilderment towards using her insane method to bring her back (wink wink) is all founded in her overwhelming state of grief. She often seems calculated and driven whilst she is doing what she needs to do, but there are a few smaller moments which show her vunerability. There is a reluctance and a confilct in her that makes her feel much more human, rather than this creepy woman who does not think twice about the horrific things she must do. This makes the third act much more interesting and unpredictable, making you hate her for what she is doing but hoping that she will show that vunerability again at a crucial moment. Andy and Piper are both brilliant and their connection is so earned. Their unwillingness to be separated from each other, their code-word ‘grapefruit’ ensuring their honesty and trust in each other, they wholeheartedly sell their sibling dynamic. Andy’s unrelenting need to protect her but then not feeling capable enough due to Laura’s manipulation is heartbreaking as, apart from some problems revealed, he is a good brother. He is riddled with trauma and grief too and the way that affects his relationship with Piper, as well as his response to certain situations makes him a deeply detailed character. Part of Piper’s character is her proving that she has some agency and she is more than her disability. She is extremely intelligent and her character has a lot of payoff towards the end. Whilst the themes are not anything new, creating these characters that explore grief and trauma in such detail justify the ideas and their existence within this story.

The Philippou’s have cemented themselves as a horror force to watch for the rest of the decade and beyond. If they manage to nail their third film, they should be in the same conversation as Jordan Peele or Robert Eggers when talking about 21st century horror auteurship. Never have I ever recommended something as horrible to watch as this but I am certain they will take that as a compliment. It certainly helps that they have brought out some fantastic performances from their stars, particularly from Sally Hawkins. If the academy had any sense, they would be looking at her for a nomination. Any shortcomings I have with this film are very minor, like the fact that it feels quite a bit longer than it is, but that does not matter too much. What should be focused on is everything this film does spectacularly well and if you have the stomach for it, this should be straight at the top of your watchlist.