Malignant (2021) Review

In the ever-evolving tapestry of horror cinema, where the familiar often blends with the phantasmal, James Wan emerges as a master conjurer, weaving nightmares that challenge the boundaries of imagination. Malignant, which is screening on Amazon Prime at time of writing, propels audiences into a realm where reality intertwines with the surreal, and the senses are ensnared by a symphony of terror. Wan, renowned for his directorial prowess in iconic franchises like The Conjuring and Insidious, unveils a narrative that is both an homage to horror’s past and a jarring leap into its future.

Co-scripted by the trifecta of Wan, Ingrid Bisu, and Akela Cooper, Malignant beckons viewers into a shadowy world that reverberates with echoes of classic horror tropes, yet defies expectations at every twist and turn. Annabelle Wallis, in a performance that oscillates between vulnerability and ferocity, embodies Madison Lake-Mitchell, a woman besieged by harrowing visions of impending murders. Wallis’s metamorphosis from a fragile victim into a force to be reckoned with is a testament to her acting prowess, injecting emotional resonance into a narrative that continually oscillates between reality and nightmare. At times her performance echoes Isabelle Adjani’s unforgettable portrayal of Anna in Possession (1981), a woman also pushed to the brink of insanity by exceptional circumstances

Wan’s distinct directorial fingerprint is evident in every frame, as he orchestrates an intricate dance between light and shadow, mirroring the tumultuous psyche of the protagonist. Aerial shots glide like omniscient specters, capturing the labyrinthine confines of Madison’s world and immersing the audience in her unsettling journey. Wan’s commitment to visual storytelling is a testament to his auteurship, a trait often overlooked in the horror genre.

Yet, it is in the film’s audacious twist that Malignant truly distinguishes itself. The revelation of Gabriel, a parasitic twin that commandeers Madison’s actions, is a masterstroke that subverts horror’s narrative landscape. The symbiotic dance between Madison and Gabriel is as haunting as it is hypnotic, punctuated by moments of spine-chilling tension that reverberate long after the credits roll. Annabelle Wallis’s portrayal of this dichotomy is nothing short of mesmerizing, as she seamlessly transitions between Madison’s vulnerability and Gabriel’s sinister malevolence.

Beneath the film’s skin-crawling horror lies a thematic undercurrent that delves into the depths of identity and trauma. Malignant is not content with being a mere spectacle of scares; it invites introspection into the very nature of self and the malleability of reality. Madison’s fractured existence becomes a canvas for exploring the fragility of sanity and the boundaries of the mind. This thematic depth, while at times overshadowed by the film’s visceral intensity, provides a thought-provoking layer that resonates beyond the immediate shocks.

While Wan’s directorial vision is undeniably a driving force, Malignant does not emerge unscathed from the realm of imperfection. The film’s breakneck pace occasionally obscures character dynamics, leaving certain relationships undernourished. However, this frenetic momentum contributes to the film’s chaotic allure, underscoring the internal struggle that propels Madison’s harrowing journey.

And periodically, there are quirks such as the odd exchanges between the lead detective and his crime scene investigator which throw an otherwise serious (though outlandish) film towards schlock-horror. This aspect of ‘fun’ is something that some have appreciated and applauded, but I for one would have preferred less tongue-in-cheek elements.

In the annals of horror history, Malignant emerges as an enigmatic enigma, a film that ignites debates and leaves an indelible mark on the genre’s trajectory. Wan’s audacity to weave a narrative both reminiscent of its predecessors and audaciously distinct is a testament to his dedication to elevating horror to a realm of thought-provoking artistry. As the final frames of Malignant flicker, one is left with a lingering sense of unease, a testament to the film’s ability to unsettle and provoke.

In sum, Malignant stands as a visceral and cerebral journey into the heart of darkness, a testament to James Wan’s unrelenting commitment to pushing horror’s boundaries. With a performance by Annabelle Wallis that resonates and terrifies, coupled with Wan’s directorial flair, the film etches leaves a noticeable mark on the horror landscape. Malignant is an experience that plays with the psyche and makes the impossible seem plausible… Almost!

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