Malignant: James Wan’s latest horror film
This October, horror movie fans will be spoiled for choice on Netflix with the addition of plenty of terrifying new releases! This is the case of the film Malignantsigned by James Wan, just arrived on the French platform. Released in 2021, this signed feature film the director’s return to his horror rootsbetween two forays into the world of blockbusters with the two Aquaman films.
The director, known for iconic hits such as Saw (2004), Insidious (2010) e Evocation (2013), contributed significantly to the resurgence of modern horror cinema. However, Malignant represents a courageous attempt move away from his previous successes by creating more personal and experimental work.
The film tells the story of Madison (played by Annabelle Wallis), a woman haunted by visions of brutal murders. These strange nightmares become increasingly terrifying when he realizes what they, in reality, are real crime scenes. Madison then finds herself confronted with a mysterious entity, Gabriel, with whom she seems to have an inexplicable psychic connection.
A critical and commercial failure
Although James Wan attempted to innovate by mixing classic horror with psychological thriller elements, Malignant was not well received upon its theatrical release. The film received mixed reviews and a commercial failuregrossing approximately $34 million at the worldwide box office, on a budget of $40 million.
Audiences, accustomed to Wan’s more traditional horror films, were disturbed by the film’s hybrid and eccentric tone. Bad word of mouth did not push horror fans to discover this proposal from the director. It’s a shame, though, because the film has some real strengths.
Malignant deserves a second chance
Despite its initial failure, Malignant offers several aspects that justify a new analysis, in particular thanks to its arrival on Netflix, where it can reach a new audience. What begins as a classic home invasion in a Gothic House is reminiscent of James Wan’s usual works, but the film quickly transforms into something much more unpredictable and whimsical.
Unlike his previous successes, Malignant he enjoys playing with the codes of the genre. The very effective first part of the film features two scenes of home horror that instill palpable tension, particularly thanks to Wan’s mastery of managing space and shadows. There we find camera movements that are reminiscent InsidiousOR every corner of the house becomes threatening. This part, however, remains in a register familiar to the director, and we will have to wait for the second half of the film to Malignant reveals all its originality.
The true uniqueness of the film lies in its psychological intrigue. Madison quickly discovers that she shares a psychic bond with Gabriel, the murderous entity. This turning point, which might have seemed classic, is needed an unexpected twist when Gabriel reveals himself to be some sort of “evil lookalike”, a contortionist entity who wreaks havoc as he attacks the people who had attempted to remove him.
James Wan then unleashes all his visual audacity, particularly during a chase in the Seattle subway, where the film’s foggy, gothic aesthetic is reminiscent of his past works, such as Deadly silence. Gradually, Malignant transitions into a visual frenzy where the horrific action scenes intensify, culminating in a finale as excessive as it is jubilant. The film then becomes an exploration of the concept of “double”, evoking works such as The spirit of Cain OR The dark partwith a final twist that transcends the usual conventions of the genre.
This final act is one of the most memorable of Wan’s career. He no longer hesitates to abandon all logic to dive into a bloody one-upmanship, reminiscent of the stylized violence of Death sentence.
This total liberation of the story offers a visual spectacle that, although chaotic, remains fascinating.
Source: Cine Serie

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