Rebecca Hall is magnificent, as per usual, but Resurrection is an odd, slightly boring psychological drama that is too bonkers to be taken seriously.
When a man (Tim Roth) from Margaret’s (Rebecca Hall) past shows up two decades later, she is forced to confront her fears and put an end to the torment. It’s tough to dissect Resurrection without diving into the details, but in an attempt to avoid spoilers, I’ll say that the plot takes a twisted turn that, although an allegory for abuse and mental health, never links back to reality. Writer/director Andrew Semans is confident in his filmmaking and direction with Hall’s character slowing unraveling in mesmerizing fashion throughout the film. Roth brings a devilish antagonist to life with questionable motives and a firm control over Hall’s Margaret that is eery in and of itself.
If the goal was to create a film that will unsettle the viewer, Semans largely succeeds; the plot points are uncomfortable and moments, especially in the end, rather gruesome. But Resurrection suffers from an identity crisis, not quite knowing if it wants to be more thrilling social commentary or supernatural/horror drama. Such confusion once again surrounds the phenomenal Hall and the steady Roth as the film deteriorates into absurdity. With no clear message or intent, Resurrection falls flat.
Photo from Sundance