Without a stronger emotional core or a differentiating visual look from other similar survival horror films, Azrael doesn’t quite justify the means to the end. Without a clear exploration of the religious and feminist themes that are sprinkled throughout, it’s hard to champion a film that never quite finds its own cinematic voice.

Many horror films this year have taken unique approaches in perspective and form to give audiences something new. Chris Nash’s In A Violent Nature, for example, trailed behind the footsteps of the film’s mysterious villain while Steven Soderbergh’s Presence allowed the camera to become the actual eyes of the ghost. In the case of Azrael, which in Hebrew translates to “Help from God,” director E. L. Katz (The Haunting of Bly Manor) goes the opposite route by returning to the basics of storytelling: a choice that pays off until it doesn’t.

Throughout the 85-minute runtime, nobody in this post-apocalyptic world speaks while the bible quotes at the film’s chapter breaks set up the religious ideology. Azrael (Samara Weaving) escapes from the unknown community of women who imprisoned her as she fights like hell for survival.

The plot itself is fairly bare-bones, Katz often allowing the story to unfold as a silent film where the visual storytelling shines. The audience also gets a good look at the demon-crawling monstrosities from the very beginning while many horror films opt for saving their creature designs until later. Clearly, Katz is less interested in pulling the rug out from under viewers and instead takes us along the ride. Without a stronger emotional core or a differentiating visual look from other similar survival horror films, though, Azrael doesn’t quite justify the means to the end.

Even when the film drifts into watered down Rosemary’s Baby territory, Weaving, who instantly became known as a final girl to watch in both The Babysitter and Ready or Not, continues to cement herself as one of the most exciting horror actresses working today. Playing a character who doesn’t speak makes for a great challenge — one she overcomes with skilled body language and facial expressions, conveying a woman who has been wronged in her life and is looking to reclaim something.

Without any dialogue to move the story beats along, all eyes are on Katz’s visual sensibilities. This isn’t necessarily where the film loses steam, as many of the action sequences are compellingly shot and use the forest setting and religious imagery to their advantage. But the film doesn’t find its own visual panache or stylistical feature to stand out from the many horror films excelling this year.

Even at just 85 minutes, Azrael does surprisingly drag without a strong emotional core to invest us. The film isn’t quite brutal enough to justify it being so dry to the core and does even bring in a romantic lover, Kenan (Nathan Stewart-Jarrett), to add some dimension. But the film never fully commits to Azrael’s own emotional journey either, with the focus on her actions to get out of terrifying situations serving as thrilling setpieces that don’t tell us too much more about who she is as a person.

It is refreshing to see Katz fully commit to the use of no dialogue, thereby trusting the audience to pick up on the visual cues themselves. So many post-apocalyptic horror films fall into the trap of over relying on exposition or world-building and Azrael does none of that. It also manages to make great use of its isolated location during the best setpieces. But without a clear exploration of the religious and feminist themes that are sprinkled throughout, it’s hard to champion a film that never quite finds its own cinematic voice.

Grade: C

Oscars Prospects:
Likely: None
Should be Considered: None

Release Date: September 27, 2024
Where to Watch: In Select Theaters