For those of you who have seen (or will be seeing) James Wan’s new horror movie Malignant (2021), I think you’ll understand when I say I am of two mindsets when it comes to the entire piece.
It has been five years since Wan has directed a film within the horror genre he has helped resurrect ‘from the dead’ – which might be a bit excessive, and Malignant might be his most divisive. Less scary and more ‘slashy’ than his more recent franchises of The Conjuring and Insidious, it carries with it a bizarre tone. . . part semi-traditional bloody horror film, part CSI melodrama (or is it spoof) – we are never quite sure if it is supposed to be tongue in cheek or taken seriously. . . for some of it feels rather campy compared to large portions of the story.
Following an introductory scene that will come back into play as the story progresses, the narrative is centred on Seattleite Madison Mitchell (Annabelle Wallis), a thirty-something year old in a semi-abusive relationship (if there can ever be such a thing) with Derek Mitchell (Jake Abel), and has been bashed into a never-ending sense of depression after having had multiple miscarriages. Her most recent clash with her not-so-endearing hubby has left her with a wound that festers on the back of her head. . . never seeming to fully heal.
This tête-à-tête with her husband (I apologize for the pun), finally brings her sister Sydney (Maddie Hasson) back into her life. . . something over-controlling Derek has attempted to discourage since the beginning of their relationship.
Soon, bizarre murders begin to happen (all mysteriously relating to Madison’s forgotten past and unexpected present – she was adopted at the age of eight). . . bringing CSI-like investigators into her life. Detectives Kekoa Shaw (George Young) and Regina Moss (Michole Briana White) take the job seriously, and their intense looks and grave demeanors are there to prove it.
Though some of these stylistic choices might have you scratching the back of your head (there’s that festering wound again), there is never any doubt in Wan’s stylistic choices as a film maker. Seemingly always on the top of his game, every camera angle is refined, pan suspenseful, each camera placement or movement there to put the viewer on edge, while the cinematography (done along with director of photography Michael Burgess) and the sound design are top notch as well. Some of the best highlights are what can only be deemed an overhead tracking shot following Madison through her detailed Victorian home, some wild moments (and a chase) through the historic Seattle Underground, and the initial murder (in the present day – not the flashback opening).
It also carries within it some intriguing themes and motifs. . . the festering wound (could that tie in with the film’s cancer reference title?), a revenge plot where a black gloved and coat wearing murderer kills numerous people with a shiny metal trophy dagger (something that will be giving giallo and slasher fans flashbacks), the loss of ones roots and the search for blood relatives (be it your own child or former family), the struggles of rebirth when you are stuck in a depression, and an invisible friend that almost feels like a reverse, unseeable Janus-faced doppelgänger.
Though it might not be as successful as some of Wan’s other toasts to ghosts, Malignant is never disinteresting. It keeps you guessing, has some mighty surprising twists, and survives its flaws with stellar craftsmanship, a few nice narrative features, and solid central performances from Wallis and Hasson. It is also nice seeing Jean Louisa Kelly (from Uncle Buck fame) in a small but important role. So, I’ll leave it up to you to decide whether this one is rather benign or exceptionally malignant. . . whether it will delight or fester is in the eye of the beholder.