Relic Remains A Strong Directorial Debut Despite A Few Hiccups

You ever hear buzz for a piece of media, then complete it and think “Damn, I must be really out of touch”? To this day I don’t understand the hype behind 2014’s It Follows, for example. It’s certainly not a bad film by any stretch of the imagination, but I definitely don’t think it’s deserving of the borderline-rapturous praise that it receives. The movie’s symbolism is just far too on the nose and the plot breaks rules it sets for itself far too often. While Natalie Erika James’ Relic doesn’t have an issue with the latter, telegraphed twists and an overly-streamlined story definitely hold it back from being truly great.

Now, I’m not somebody who actively goes looking to “figure out” movies from the first frame, I like to be tricked and taken for a ride by films. However, there are some set-ups that reveal their hands from their concept alone, and Relic has one of those plots. Kay (Emily Mortimer) and daughter Sam (Bella Heathcote) go to see Kay’s mother and Sam’s grandmother, Edna (Robyn Nevin), because her neighbors hadn’t seen her recently. They arrive to find Edna’s house in disarray, with her displaying clear signs of dementia, before various unsettling phenomena begins to occur around the residence.

If you have any knowledge of the symptoms of a disease like Alzheimer's, and how they could be applied in the context of a demonic possession plot, you probably have a pretty good idea of how the story’s going to start, progress and end. Relic is a metaphor for how neurodegenerative diseases are passed down through generations, and while that’s prime subtext for a possession film, I’m afraid Relic’s plotting has all the subtlety of a train crashing through a wall. All the beats and revelations happen exactly when they’re supposed to and this ends up turning a novel concept into something that feels far more formulaic.

While I take issue with how the film’s plot, the cinematography, courtesy of Charlie Sarroff, is stand-out and the performances from all three leads are truly great. In Relic’s dark, claustrophobic climax, the camera maneuvers with frenetic urgency while also maintaining a clear sense of focus. You never find yourself asking “what the hell’s going on,” which is as surefire a way to know the cinematographer’s done his job as any. Special praise must also be given to Robyn Nevin as well, who plays Edna with a warm yet creepy edge that could have come off as hokey, or even disrespectful, in the hands of a lesser professional.

All in all, while I’m sure my review isn’t going to put a damper on Natalie Erika James’ day, I hope it doesn’t seem like I’m being too harsh on Relic. As far as directorial debuts go, this is about as good as it gets. While I’m not quite ready to join the chorus of those putting it on the same level as heavyweights like The Witch or Hereditary, it definitely sets up James as a director with a bright future.

The bottom line is that you could spend your evening scrolling for whatever soulless tripe is shoveled onto your streaming service of choice, or you could give your money to Relic. A horror film that, while flawed, still manages to have a soul and say something. I think the choice is pretty clear.

Relic gets a 7/10 on the Madness Meter

If you liked this review, check out my other recent one on All Hail the Popcorn King.

Read more within the Museum of Macabre Media on Monsters, Madness and Magic: The Candy Witch Delivers Creepy Horror Comfort Food